By MICHAEL PERKINS
ANYONE WHO’S SLOGGED THROUGH MORE A FEW OF THESE DISPATCHES knows all too well that I am a passionate preacher for shooting images completely on manual, not because it’s a more “pure” form of photography (and thus deserving of nobility and praise), but because I prefer to exercise as much personal control as possible. This, again, is not a quality judgement, since amazing pictures are made every day with the use of either complete or partial automodes. I just feel that I, personally, learn more by trying more, and manual settings place so much direct pressure on me to innovate and experiment that even my gross failures serve as education.
Sometimes. And other times they’re well, just gross.
The mode known in Nikon as Aperture Priority (“Av” on Canons) is the only semi-auto mode I use with any regularity, and always because I make an educated guess, before going on a shoot, about what conditions will likely prevail. AP allows you to manually dial in your aperture on those occasions when you want a uniform depth of field in everything you’re shooting, with your camera metering light on the fly and providing the shutter speed you need for a correct exposure. AP tend to be a rare bird for me because, in many cases, I am not shooting so fast that I can’t pause at least a few seconds between frames to dial in every exposure factor. However, there are cases when the technology gives you a decided edge.
Landscapes, especially in rapidly variable weather, call upon the shooter to react to conditions that could last, at best, for only seconds at a time. When skies are crystal clear and you have ample time to set up a shot, then, by all means, rely on your own experience shooting on full manual. If, however, you are moving and shooting quickly from dark to medium to extreme light and back again, then you might consider AP as a way to cut your reaction time in half. At this point, full manual may be costing you shots rather than making them better.
On the day the above image was taken, the town of Sedona, a miraculous array of red-tinged mountains in northern Arizona, was colored variously by a swiftly shifting broken cloud cover. One moment, the crest of a butte might take on a crimson glow, then be swallowed in shadow just moments later, with the gulch next door temporary hyper-lit in the same fashion. The clouds over Sedona were also backed by a decent headwind, shortening the stretches between scene changes even more. Moreover, the sunlight added a ton of contrast to the clouds themselves, making the sky a more attractive compositional component, with typically indistinct shapes rendered more sharply (because contrast is sharpness, right?).
As a result, the combination of light you see in this shot lasted exactly fifteen seconds, so, if I had paused to shoot a couple of trial frames on manual, just to try to nail the lighting, I likely would have missed this moment completely. Again, at this point, assist modes ain’t a compromise; they’re strategy.
The best practice is to anticipate, as much as possible, where you’ll be shooting and what the “game on the ground” is likely to be. Fashion shooters, journalists and other pros swear by Aperture Priority as insurance against lost shots. You may almost certainly find that to be true for some situations yourself . But the name of the game is Get The Picture, so, at the end of the day, the mode that makes you smile is the “right” mode. And don’t let nobody tell you no differnt.
By MICHAEL PERKINS
I KNOW THAT I APPROACH THE IDEA OF SHOOTING ON MANUAL with what must strike some as evangelistic zeal. We’re talking full-on-John-The-Baptist-mad-prophet mode. I do so because I believe that, the further you can go toward overseeing every single facet of your picture taking, that is, the less you delegate to a machine that can’t think, the better. Generally. Most of the time. Almost always.
Aperture Priority, the mode that I most agree with after pure manual, can be very valuable in specific conditions, for very specific reasons. In AP (Av for Canon folks), you dial in the aperture you want for everything you’re about to shoot, depending on what depth-of-field you want as a constant. Then it’s the camera’s job to work around you, adjusting the shutter speed to more or less guarantee a proper exposure. Let me interject here that there are millions of great photographers who nearly live on the AP setting, and, like any other strategy, you have to decide whether it will deliver the goods as you define them.
If you are “running and gunning”, that is, shooting a lot of frames quickly, where your light conditions, shot-to-shot, will be changing a great deal, Aperture Priority might keep you from tearing out your hair by eliminating the extra time you’d spend custom-calculating shutter speed in full manual mode. Fashion, news and sports situations are obviously instances where you need to be fully mindful of your composition, cases in which those extra fragments of “figgerin'” time in between clicks might make you miss an opportunity. And no one will have to tell you when you’re in such a situation.
Conversely, if you are shooting more or less at leisure, with time to strategize in-between shots, or with uniform light conditions from one frame to the next, then full manual may work for you. I have shot in manual for so many years that, in all but the most hectic conditions (cattle stampede or worse), I’m fast enough to get what I want even with calculation time factored in. But it doesn’t matter what works for me, does it, since I won’t be taking your pictures (pause here to thank your lucky stars). If you need one less task to hassle with, and AP gives you that one extra smidge of comfort, mazel tov.
One other thing to note about Aperture Priority: it’s not foolproof. Change your central focal spot to different objects within the same composition (say from a tree to the rock next to the tree) snap several frames, and the exposure could be vastly different on each image. Could that happen when you’re on manual? Certainly. You can, of course, fiddle with exposure compensation on AP, essentially overruling the camera, but, to take the time for all that, you’re really not saving much more time than shooting manual anyway. See what you can live with and go.
This blog is a forum, not the Ten Commandments, so I never want to profess that my way is the only way, whether it’s taking photographs or deciding what toppings should go on pizzas. Although, let’s face it, people who put pineapple on them….that’s just warped, am I right?