FINDING AN OPENING
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?
NAIL YOUR FOOT TO THE FLOOR
By MICHAEL PERKINS
PHOTOGRAPHY PLACES YOU IN PLENTY OF SITUATIONS WHERE YOU ARE, TO SOME DEGREE, OUT OF CONTROL. From light conditions to the technical limits of your gear to erratic weather, we have all experienced that sinking feeling that accompanies the realization that, to a great extent, we are not in the driver’s seat. Gotta wait til the sun’s up. Gotta wait for the flash to recycle. Gotta cool my heels til these people get out of the frame. Gotta getta bigger bottle of Tums.
So why, given the frequent cases in which we naturally run off the rails, would I recommend that you deliberately hobble yourself, in effect putting barriers in your own way when shooting images? Because, quite simply, failure is a better teacher than success, and you never forget the lessons gained by having to work around a disadvantage. Not only am I encouraging you to flirt with failure, I’m suggesting that there are even perfect days on which to do it…that is, the many days when there is “nothing to shoot”.
It’s really practical, when you think of it. Go out shooting on a day when the subject matter is boring, a day on which you could hardly be expected to bring back a great picture. Then nail your foot to the floor in some way, and bring back a great picture anyway. Pick an aperture and shoot everything with it, without fail (as in the picture at left). Select a shutter speed and make it work for you in every kind of light. Act as if you only have one lens and make every shot for a day with that one hunk of glass. Confine your snaps to the use of a feature or effect you don’t use or understand. Compose every shot from the same distance. The exercise matters less than the discipline. Don’t give yourself a break. Don’t cheat.
In short, shoot stuff you hate and make pictures that don’t matter, except in one respect: you utilized all of your ingenuity in making them. This redeems days that would otherwise be lost, since your shoot-or-die practice sessions make you readier when the shots really do count.
It’s not a lot different from when you were a newbie a primitive camera on which all the settings were fixed and you had zero input beyond framing and clicking. With “doesn’t matter” shooting, you’re just providing the strictures yourself, and maneuvering around all the shortcomings you’ve created. You are, in fact, involving yourself deeper in the creative process. And that’s great. Because someday there will be something to shoot, and when there is, a greater number of your blown photos are already behind you.