An old post of mine from the old site:

As soon as people learn that I “do photography”, I get tons of questions from them. Fortunately,.. I’ve learned from a lot of great people, who happen to be great photographers.

How do I make my pictures better?

This one is a broad question,.. but it comes up a lot. If you are really interested in making your pictures better, you need to learn and practice just like any other skill. You see, Photography is somewhat unique in that it uses – heavily uses – both sides of your brain. One aspect of it is very creative and on the other side of it, there is a LOT of science involved. Fortunately, the science that you have to know, versus the science that your camera is built on, is relatively basic.

Have you ever looked at a photograph and said, “That’s Incredible! I wish I could do that!”

Believe it or not, … You can.

All it takes is a little know-how, patience and a lot of practice.

Your camera must become an extension of you. You must know your camera well enough that you can operate it in the dark, and without having to pull it away from your eye to set its controls.

Hopefully a few more trips to this page can help you out and help you to avoid some of pitfalls that I have encountered.

As always, if you have any suggestions on content, or have any questions, or corrections, post them below.

How come my pictures are fuzzy?

There can be any number of reasons for this.

1. There’s the fact that you may have been a little shaky when taking the picture. Excitement, cold and various other factors can cause this. In many cases, simply focusing on what your doing, and shutting everything else out will alleviate much of this.
2. On the average, most people cannot hand-hold a camera and get a clear picture below 1/60th of a sec. Your heartbeat and breathing usually prevent lower speeds. With practice, good breathing techniques, and in really lucky circumstances – a monopod, some can manage as low as 1/15th of sec.

With many “point and shoot” cameras, this is not a problem, as the camera will often not allow for the shutter speed to be set lower than that.

Some will let it set below that, and you will get blurry pictures. Sometimes they will have a shake indicator, meaning that the picture will be blurry without proper stabilization. Digital cameras will often show you on the LCD that the shutter speed may be too slow for a clear picture. Note: Digital Cameras have slightly different “shutter speeds” 1/60th sec doesn’t necessarily equal 1/60th of a sec on a film camera. I have watched people hand-hold 1/45th of a sec easily on a digital camera.
3. You broke the rules. 🙂 There is a rule of thumb that states: The shutter speed should be no slower than the reciprocal of your lens focal length to hand hold safely.

What this means, in plain english, is: If you are using a zoom factor of 250mm, then your shutter speed should be no slower than 1/250. So 250mm means 1/500= good, and 1/60 = bad. If you are shooting at 28mm, you could get away with 1/60 and if you’re really steady, you might even get away with 1/30. If you need big zoom and slow shutter speeds, you will need to use a tripod.

Many point and shoot cameras will break this rule, hence blurry pics. Now -some- people are steady enough that they can hand hold beyond these number, hence breaking the rules. These people are certainly few and far between. The way that many of them manage it, is as I mentioned above: good breathing practices and concentration.

I want to buy a new camera, and I want a decent one, what features should I look for?
First off, don’t assume that the most expensive camera out there is the best camera. The same holds true of you’re going to buy an SLR and are looking at glass. (a.k.a. lenses) This is also true of digital cameras. Many people pass over Minolta and Pentax in favor of Nikon and Canon. This happens largely because of Nikon’s and Canon’s advertising budgets. Often you will find that all the cameras, in similar price ranges, have similar features. Decide what features you need, do your research.

1. How fast or slow a shutter speed do you foresee needing? Do a little research and find out what typical shutter speeds are used for the types of photos you want to make. What about Aperture?
2. Do you expect to use the timer function?
3. Do you need a camera for taking art museum quality prints, or do you want something easy to handle that will allow you to take pictures of the family BBQ?
4. How much zoom do you really need? Do you expect to be taking pictures of reasonably close objects, or do you want to be able to zoom into huge distances.
5. Do you feel that you want a camera that you can change the lenses on? While this gives nearly unlimited expansion options, some people find the maintenance and all the parts to be a pain.

Sit down, and make a list of what you plan on using the camera for, and what functions or features you think you can and can’t live without. Take this list with you when you go to the store.

Now go to the store and handle each one of the cameras you are considering. See which one is most comfortable in your hand, and which had the most intuitive setup for your hand and mind. If it doesn’t feel comfortable in your hand,… all the features, megapixels and dollars in the world don’t matter. You won’t use a camera that’s not comfortable.

What the heck are those big Giant monster things that appear in my pictures sometimes and obscure my subject?

If this monster shows up quite often in your pictures, try this: Paint your fingers green, and don’t forget your thumbs. Now go shoot a few rolls, using the same style that you usually do. Did the monster appear? Or is his green cousin there instead? 😉

This is a problem that shows up mainly on fixed lens point and shoot cameras, but sometimes will show up on any rangefinder type of camera. Because of the fact that you are looking through a viewfinder, and not the actual lens ( like you would with an SLR camera ) it’s hard to see what’s in front of the lens.

At times, you will find closeup pictures of your camera strap, your hair, any loose clothing that you may have been wearing that may have been able to get in front of the lens, and even that giant thumb monster. Yes, I have a few pictures of my thumb like this. Now that I’ve moved to an SLR camera, this is much harder, for two reasons.

1. I see what the camera sees, and

2. It’s a little harder to casually stick your thumb on the lens when it’s so significantly farther out than a fixed lens tends to be.

I guess what I’m saying is that it’s important to always be aware of what’s in front of your lens. Whether that be your subject, or what might obscure it.

What are your thoughts on Digital Cameras?

Digital cameras are finally starting to come of age. They started on the market, in my opinion, as little more than toys. I discounted them totally at that time, as they were slow to write to the cards, the zooms terribly limited, and the resolution was nothing compared to film cameras.

Then, slowly, more serious cameras started to come onto the market, and we were forced to start to take notice. Nikon, Canon and the others started to come out with pro oriented cameras. The Canon D30 (because I’m a Canon girl, I know more about their lines than the others.) became something to take seriously. Now even these pro-sumer cameras have their drawbacks. Because the CCDs are not the 36mmx24mm that a 35mm neg is, (they are smaller) the zoom factor of the lens you use is different. It is multiplied by 1.4x, 1.5x or 1.6x a lot of times. You might be reading this and saying, what? Is she smoking crack or something? That means free zoom! That’s true. 🙂 And that’s a definite benefit,… unless you have expensive wide angle lenses. These are also multiplied by the factors mentioned. This renders your ultra expensive wide angle lenses, regular lenses. The D60 and it’s competitors have had the same problem. This year, 2003, however, there are cameras hitting the market with full sized 36mmx24mm CCDs. This will mean no more conversion factors.

Suddenly, it’s not unreasonable to think of digital as a viable option. Especially when press photographers have begun using them along with cell phones and laptops to have their pictures to the paper, or magazine immediately. Of course, the serious cameras, complete with interchangeable lenses, came, and still do, with pretty serious price tags as well.

I think this has fueled a need for more “capable” cameras, as people started realising the potential of digital. Now finally, even the “point and shoot” digital is worthy of use.

I have a “point and shoot” digital camera that I use for everyday things, and sometimes as an idea for exposure related metering. It has taken the place of my point and shoot film camera, and it and its brethren are largely responsible for declining Polaroid sales.

What do I think of them? They are a useful addition to a film photographer’s kit. For now. Soon, when the prices begin to fall more in line with film cameras, I might consider “Going Digital”.

How about Photoshop?

Photoshop is a wonderful tool for tweaking your images. It is incredibly powerful and well written. I don’t use it nearly to it’s potential. I use it only to touch-up the dust in my pics after I scan them for the web, and to adjust minor color or contrast problems.

{begin rant} Where I have an issue with Photoshop, is when you take a bad photo, and change it enough that you feel that it can (and it might even successfully) compete with a photo made by a truly skilled photographer. This, to me, is a fake. And I feel that it has no place in photography. Don’t get me wrong, digitally manipulated photos have their place. And they do take immense technical skill. Advertising is one place that comes to mind. There is no excuse for a bad photo that’s been manipulated to be better to -ever- be in a contest with a great one. It cheapens the art of photography. Photoshop is a tool. Not a crutch. The two should never be mixed up. In fact, I feel that there should be separate categories in competition. One for digitally manipulated photographs, and one for traditional photographs. Comparing a digitally enhanced image to a traditionally prepared one, is apples to oranges. The traditional shot requires control and knowledge of the equipment, the medium, the film, and the subject. The digital image requires control of a mouse and a Photoshop manual.{end rant}

Is there a particular type of mindset you need to be a photographer?

Insanity helps. 🙂 In small doses anyway. I firmly believe that you must be ready to take a few risks, both with your career, and your assignments. Of course, when I say risks, I don’t believe that you need to put your life at risk to get the shot. The best pictures are taken from the playing field, when the photographer becomes part of the action.

Now when I speak of playing fields and being part of the action, I don’t refer only to sports photography, I mean all genres. With my waterfall pictures, I am standing in the water, at the base of the fall many times. (Or falling down it, etc as the case may be.) Sometimes I think the photographer needs to be a little crazier than the subject. For instance, Galen Rowell once made a photograph of a rock climber that at first I looked and said “Wow! What a crazy S.O.B! Look at him hanging like that from that rock!”, then I thought further. You could see in the picture that the person was parallel to the camera and the ground was a long ways away…. what about the photographer!?!? You know that he was hanging right there beside the other guy, but with his hand(s) on the camera to take the picture. Now,.. who’s crazier? 🙂

Combined with the insanity, you must have a drive to succeed if you want to go pro. There are going to be times, like in any other business, where it seems like the world is against you and no one likes what you do. Hopefully, this isn’t really true. 😉 And to temper it all, a healthy dose of humility. Not everyone is going to like your visions, and when you find those who do, you must treat them with utmost respect.

I once approached a photographer in Jasper, and asked for his card. I wanted to look up his work on the internet, and see what his work was like. I told him this when I requested his card, and he snarled at me, “Do you collect photos, or business cards?” Then he practically threw his card at me. I don’t recall his name now, and I threw the card away after the way he treated me. One thing I can tell you, is that if I buy art from someone in Jasper, I’m going to look extra hard at the name before I hand over my money. Someone who treats people like that needs a lesson in humility. And I think that it will eventually reflect in his revenues.

What’s the difference between someone that “does photography” and a photographer??

Income. :)(and demand for your product.) In my mind, and this is certainly a subjective matter, I will never be a photographer until I have sold my first picture. To me, Professional Photography is a profession into which a person enters, once they have a marketable and in demand product. I’m not there yet. 🙂 I have given away several prints though. Mostly to family and friends.

What’s the difference between “Taking a picture” and “Making a Photograph”?

A camera takes a picture. So does your average tourist. 😉 It refers to a sort-of haphazard way of documenting. Little attention is paid to the creative process. A photographer makes a photograph. This describes the entire process from conception and visualization to presentation. The photographer is involved in much, if not all, of the process beginning to end.

What are aperture (or f-stops), shutter speeds, all these fractions, ISO, grain, noise, and why do I care? I just want to take a picture!

Aperture, or your F-Stop, is the size of the opening of your shutter. This is important because it determines the Depth of Field in your picture. Depth of Field is the amount of your image that is in focus. A large F-stop number, such as F2.8 or F5.6, will give you a very shallow depth of field, whereas a small depth of field value, such as F11 or F22 will give you a greater portion of your photograph in focus. Now, I know what you’re thinking…. What the hell is she talking about? 2.8 is bigger than 11? It is. 🙂 All these numbers must be thought of as the denominator of a fraction with a numerator of 1. Therefore, an f2.8 is an f-stop of 2.8 thus being 1 / 2.8th of the shutter open. (Or roughly 36% of the shutter is opened when the shutter is released.) An f11 then, means that 1/11th of the shutter opens when the shutter is released, or 9% of it. Therefore, f2.8 -IS- larger than f11. A shallow depth of field will blur the background. This is a technique that is used by many portrait photographers. A wide depth of field is going to give you sharpness throughout more of your photograph. This is something that is desirable for landscapes for instance.

Shutter speed is the amount of time that your shutter is open for when you release the shutter. You will often see speeds of 1/125th, 1/60th, and others. These are measurements of time in seconds. I.e. 1/125th of a second, etc. Now, often (just to complicate things, or save characters) these numbers will show up as 125 instead of 1/125. This becomes a mental translation that you need to do automatically. A fast shutter speed (i.e. 1/1500th of a sec (or 1500 on some cameras)) will stop action, or nearly stop action. This is dependent, of course, on your subject. This can be desirable for sports photography, for example. A slower shutter speed (1/60th or 1/30th etc.) can blur motion, causing an interesting show of motion. It can also let more light in for dim situations. Or, as in the case with some filters, allow for greater saturation of color in your photograph.

Shutter speed and f-stops are related. They are inversely tied. This means, that as you increase your shutter speed, your f-stop will decrease. This helps to avoid under or over-exposure of your picture. In fact, a shutter speed of 1/125th and an f-stop of f5.6 is equivalent to a shutter speed of 1/250th and an f-stop of f2.8 and to 1/60th and f11. The same amount of light will strike the film. The difference in the photograph will be depth of field. The photograph with the f11 will have more of the image in focus.

ISO is the standard for indicating what’s known as the “speed” of a particular film. A film’s “speed” refers (somewhat deceptively) to the sensitivity of the film. The higher the ISO number, the more sensitive the film. This translates to less time that’s required to expose the film, or the more sensitive it is in dim lighting situations. This also gives more latitude when you find yourself in a situation where you can’t use a flash or a tripod. Remembering that you can’t generally handhold slower than 1/60th of a second, with a slower speed of film (i.e. 200, 100, 50 etc.) you may not be able to make the shot. The faster films, (mid range being 400, and faster being 800, 1600, 3200) Will often offer you the f-stop gain or shutter speed gain that you require to make the shot. I use primarily a 400 speed film for daily use. Yes, even outside. I find that the speed of the film lends to major saturation of color. Things pop! They look more vibrant to me. Of course this is a personal choice, based on films that were available years ago. Films are still, to this day, getting better and better.

Grain and noise are basically the same thing. One refers to a photographic venue, and one more to its digital counterpart. All films have grain. This grain is the building block of your image. The grains on the surface of the film are what react to light. (They are actually grains of light sensitive silver! Now you know why film seems so expensive. 🙂 ) Grain size and shape, image size, developer type and temperature, and over, under or “correct” processing times determine how noticeable your grain is. Now in most applications, most of these controlling factors are out of -your- control. Really, can you ask your one hour photo place to develop in a developer known for acutance? Not likely. A pro lab can do this in some cases, but many beginning and hobbyist photographers don’t want to pay those kinds of prices. How about the temperature of the developer? Time in the developer? Not likely. And with color film, the control required to get proper development isn’t easy. It’s better left to a machine. Black and white is a little different. You have control over all of these factors. The way that you, as a consumer, control grain is by deciding how big a picture you want out of the negative, and which film you buy. (BTW, deciding whether you want to blowup your picture is best done -before- you take the pictures. 🙂 That way you can properly match your needs with your materials.) A faster film will give you larger, more noticeable grain. This is not always a bad thing, but if you are looking for large enlargements and pin sharp details, this might not be for you. This is a sacrifice that all photographers make when they shoot in dark venues. In some cases, however, grain is desirable. For instance, consider a picture of a blues player in a small club, a cigarette perched in his mouth, and the smoke lazily twirling toward the ceiling, as he plays his instrument. Grain may -add- to this photo. Grain can sometimes add a “fine art” look to a photo, but it must be used carefully.

What are some of the resources that you use to learn more about photography?

BetterPhoto
Photo.net
Anything that I can read from David Vestal. Unfortunately, he doesn’t appear to have a website, or I’d direct you to it. He writes for Photo Techniques magazine.
Galen and Barbara Rowell’s Mountain Light Photography

What about classes? Do you suggest these?

Absolutely! Classes can be invaluable, especially if the class includes critiquing of your work. This can be hard to take, but will make you a better photographer in the end. Beware that you don’t over-do it though.
In my experience, classes have been a double-edged sword. While you learn great things about technique, and will usually get a chance to be critiqued on your work, I find that if you take too many classes, you can also find yourself so wrapped up in the technical side of things, even when you’re finished the classes, that you can stifle your creative side. Luckily, I’ve found this to be a temporary state.
You must also spend time and conscious effort to “keep it fresh”.
In essence, I guess what I’m saying is, practice a little moderation when it comes to classes. Makes sure that you spend a significant amount of time working on the creative end of this as well.

I’ve heard that darkroom work is hard, I know you have a darkroom in your house, how would you describe the experience?

Magical.

Basic Black and White darkroom techniques are not difficult, but they do require good darkroom practices. Burning and Dodging can be challenging, depending on the subject. I find the whole process to be relaxing, and the end result to be magical. From the first day that I ever saw one of my own pictures appear from a blank white piece of photo paper, I was hooked. It’s an incredible feeling to know that you created something, from concept to end product, with your own hands. There is nothing quite like the feeling of envisioning something, and bringing it to life so everyone can see what you saw.

Why aren’t there a bunch of your pictures, flashy graphics and Java on your page?

Because I want you to be able to read my page. Not watch it, and not have so much trouble navigating it that you don’t come back. The way my pages are setup right now, there are practically no minimum browser requirements and no plugins required. This makes for an easier surfing experience, in my opinion. My pictures are on my site, but I haven’t made them live yet. (Meaning they aren’t available to the general public at this time. I’m still wrestling with the best way to display them and protect them.

I want to put my own webpage up to show off some pictures that I took/made, but I hear that photograph piracy is rampant on the internet. How do I protect my images?

So far, as best I’ve been able to determine, low res pictures (around 72dpi for good screen viewing), but not so low that it degrades viewing quality on the screen that have watermarks, whether imbedded (such as Digimark technology) or visible, seems to be the best method.

A wonderful photographer once told me that image theft on the internet was almost a foregone conclusion. And to look at it in a slightly different light. “You asked about pictures on the net and copyright, as long as you can prove, you created the picture, the picture and its use are yours, but at this point of the game, the fact that someone may stole your picture or misused it, can be view as a compliment, or serve a double purpose as a great public relation tool in your community? And more people see your work, more chance you have to reach someone who love your visions” (Nelson C Levesque)

I have a simple point and shoot camera. Do I have to buy a great camera to take great pictures?

Absolutely not! Great photographs are created by great photographers, not the equipment. While it is true that a great camera will help even a mediocre photographer LOOK better, many a great photographer has taken incredible pictures on simpler than today’s point and shoot cameras. Ansel Adams started with a Kodak Brownie. Incredible photos have been created by pinhole cameras. They don’t even -have- lenses! 🙂 With a little practice, you can graduate to being one of those great photographers of whom I speak.

Of course, having said that, there are a few other factors to this. A really badly made camera will never take a great picture. You need decent optics. The lens needs to be ground properly. For instance, a disposable camera will never take as good a picture as a point and shoot or an SLR camera. As a rule, the more expensive the lens, the sharper and less flawed the optical image. You just don’t need to spend every dollar you have on lenses. Just find ones that have a reputation for good optics, and low occurrences of optical aberrations.

Why Black and White?

Because I like all the expensive hobbies? 🙂

I find in our day and age, that we seem to get overwhelmed by color. That everything is over the top. Try driving down main street, your town one day. Don’t look at the specific buildings, and all the signs specifically. Look at the mish-mash of color. In some places more than others, it can be quite grotesque and overwhelming. Everywhere, people are competing for your attention. It’s sensory overload really. Black and White simplifies things. It takes you back to the essence of what things are.

I also believe that Black and White is more expressive. If you print in color, the color is either right or it’s wrong. If the baby’s blue in a color print, it’s not right. If you print in Black and White, and bump up the magenta, you get a more contrasty picture. And perhaps this expresses better what you wanted to say. After all the print is the medium through which you express what you want to say. And how you want to say it.

What do I want for shutter speed if I want to do like your waterfall pictures or like traffic streaking?

That depends totally on the amount of light coming into the camera. In bright sunny conditions,.. 1/2 sec is fine,.. on a cloudy day ( better for shooting in many cases, shadows aren’t as harsh) sometimes you’ll have the shutter open for 5 – 10secs. (tripod or other stabilization needed, of course.)

You’d likely want 15 for traffic. Again tripod or other stabilization needed.

Do I -have- to have a tripod?

You don’t -have- to do -anything-. You can get away without a tripod to some degree, if you have a rail, bundled up jacket, bean bag or something else to rest it on. This is a place where a cable release or timer function can be of immense assistance. Or if you don’t plan on taking pictures past dusk unless with a flash, or of fast moving objects in poor lighting conditions. If you don’t mind putting your camera away and not being able to shoot in many “less than perfect” conditions, by all means, save your money.

The thing to remember, is that the human body can rarely hand hold slower than 1/60sec. Your own -body- will interfere with whether your shot is successful. A tripod will eliminate some of that interference. (heartbeat and breathing cause camera shake).

In rare cases, when braced by a tree or rail, a person may accomplish 1/20 or 1/15th of a second, but this takes a great deal of practice and excellent breathing techniques. If you’re using a light camera (i.e. a point and shoot),… you don’t even need a heavy duty tripod. My first one cost me about $40 Cdn. It’s when your needs increase that that the tripod price increases. Once I started climbing waterfalls (and falling back down them) and having my tripod sitting with a heavy camera and heavier zoom lens attached to it, in running glacial water, I determined that a tougher tripod might be in order. So I went from a Vivitar Walmart special to a Manfrotto tripod. I don’t regret it. The increase in sharpness and the quality of your photographs is worth it.

Ok bigshot! You talk pretty big, so what kind of equipment do you use?

I use a Canon EOS Elan 2 with battery pack, a Canon 28 – 80mm f3.5 – f4.5, Canon 75 – 300mm f4.0-f5.6, and a Tamaron 17 – 35mm F3.5 – 4.5. In addition, I have a Canon 420ex flash, cable release, and a manfrotto 190pro tripod. All of my gear lives in Lowepro bags. I don’t buy them because they’re pricey and look like photographer’s bags. I buy them, because they’re the toughest damn things on the market. This is something I need!
In fact, my buddy Bob Edwards at McBain Camera (Main Store – Edmonton) keeps trying to sell me waterproof gear! Keeps telling me about yellow waterproof cases from Pelican and Lowepro! 🙂
My digital camera is a “simple” 2MP point and shoot thingie. It’s a Canon Powershot A40.
As you will notice, my equipment is not the most expensive out there. I chose to master my camera and it’s capabilities before I went out and spent a fortune on glass. Don’t get me wrong, I would love the Canon 100 – 400 IS USM lens. Unfortunately, it’s not in my budget yet.

My dear friend and mentor, Nelson, once told me, you spend the money on the equipment once you find a way to make other people pay for it. Meaning, once you’re making money, and can make that piece of equipment pay for itself, -then- you buy it. Don’t buy it for the hell of it and destitute yourself.

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