| One of my biggest motivations for undertaking the | | | | the camera, what each one did and how it affects |
| task of writing this monograph, is the apparent lack | | | | the image. I would hazard to guess that the latest |
| of education in the science of photography I have | | | | crop of photographers have never even hear the |
| noted among the newer generation of | | | | term 'hyper focal distance' or how to attain it. The |
| photographers. | | | | apprentices I've worked with in recent years have no |
| I am approached regularly by young graduates, | | | | idea what an "F stop" is or what its influence is on |
| military wives and others who want to apprentice | | | | the image. This is sad. |
| with me. Ten years ago I began to notice that the | | | | In the days of film before digital, this is what you |
| people who came to me to apprentice and learn had | | | | learned in Photography 101: F stops, shutter speeds, |
| very little knowledge of even how to operate their | | | | how to read a light meter, the Zone System. You |
| own cameras! In the last five years, only one | | | | learned how to use your camera's controls to make |
| applicant had any knowledge at all about how to | | | | a good exposure before you even got to the Rule |
| make a proper exposure without using the program | | | | of Thirds and color harmony. Apparently they don't |
| function on their camera! | | | | teach this stuff any more in the public schools |
| I don't fault the apprentice entirely. The public school | | | | photography departments. |
| instructors seem to have gotten away from teaching | | | | Sure, you can take a decently exposed image into |
| the science of photography in favor of briefing their | | | | Photoshop and do a lot of neat things to it to make |
| students on basic composition, then sending them | | | | it look better. If you make a GREAT image to begin |
| out to make images. And that's fine as far as it goes | | | | with, now you can create ART with it in Photoshop! |
| in the development of artistic talent with regard to | | | | And that's the real difference. |
| composition. But there is so much more to it than | | | | So, what makes a GREAT image? Simply put, great |
| that! What about the basics of making a correct | | | | lighting, good color harmony and great composition. |
| exposure?! | | | | Of course this assumes you know how to make a |
| The worst part of all this is, as I go out on locations | | | | perfect exposure. One that shows the subject to |
| assignments, I'm noticing more and more that other | | | | the best advantage, that has depth and contrast, |
| photographers I see in the field are relying on their | | | | and leads the viewer's eye through the image. |
| program mode on their cameras, and don't even | | | | In making portraits outdoors in available light, you |
| have a flash unit with them! These are people passing | | | | must either have a large area of open shade where |
| themselves off as professional photographers, and | | | | the background exposure is very close to the |
| working portrait sessions and weddings. | | | | available light exposure in the open shade, or you |
| You may ask, "So what's wrong with that? Modern | | | | must have supplemental light, ie flash units. You can't |
| cameras have wonderful abilities to create beautifully | | | | place people facing into the sun and expect to get |
| exposed images all on their own!" It is true that most | | | | comfortable, natural expressions from them. And if |
| professional and 'prosumer' and even consumer | | | | you place them so the sun is behind them, and make |
| cameras have terrific sensors, built in exposure | | | | a good exposure of the face, the sky will be |
| modes and so forth, and do generally make quite | | | | completely blown out. Solution: Bring lights! |
| good exposures in program mode. And that's fine if | | | | If the background is busy and distracting, the best |
| "good enough" is good enough. But that's not why | | | | thing to do is to create a shallow depth of field, and |
| people hire a professional! | | | | make the exposure on the subject a couple F stops |
| People hire a professional portrait or wedding | | | | brighter than the background so the background |
| photographer not because they want snapshots, but | | | | goes darker. You can't do that in program mode! And |
| because they want professional quality portraits! | | | | if you don't know the relationship between shutter |
| There is much more to a professional portrait than a | | | | speeds and F stops, you still can't do it! |
| good exposure and good composition! | | | | If you have flash units, you need to know how to |
| I'm not saying that an "editorial", or "candid" | | | | use them and how to control them. You need to |
| photograph can't make for an excellent portrait. | | | | know where to place them and aim them to create |
| What I am saying is, if you represent yourself as a | | | | the depth and modeling of your subject that will |
| professional, you should be expert in utilizing the | | | | make them 'pop' in the photograph. |
| range of abilities of your equipment, and the | | | | So, all this comes down to learning the skills of image |
| compositional and exposure effects this expertise | | | | making. Anyone can learn how to operate a camera |
| avails. Anything less, and you are ripping off your | | | | and flash. It takes some initiative, time and effort. |
| clients and the profession. | | | | But you can do it. |
| I am not here attempting to teach the science of | | | | Then there's the artistic intuition and natural ability. |
| lighting, exposure and manipulation. There are several | | | | You can learn color harmony, and the rules of good |
| excellent books on each of these topics, and I am | | | | composition. As long as you follow the "rules", and |
| happy to recommend some. What I am attempting | | | | have developed the skills, you will usually end up with |
| to accomplish here is to encourage people who are | | | | very good photographs. Knowing intuitively when to |
| wanting to get into photography as a profession, to | | | | 'break the rules', requires either lots of experience, |
| really learn the science and the art before hiring | | | | and or natural artistic ability. |
| yourself out. | | | | If you have the natural artistic talent, but haven't |
| As more and more folks go out with a nice digital | | | | developed the technical skills of photography, you |
| camera, representing themselves as professionals, | | | | can still achieve interesting, and even great results...in |
| not knowing what makes for a good photograph or | | | | program mode...some of the time. When you combine |
| even how to use their equipment to make the kinds | | | | the technical understanding and skills with natural and |
| of photographs they envision, it will eventually begin | | | | learned artistic ability, this is when you separate |
| to lower the expectations of the patrons. This in turn | | | | yourself from the hobbyists and snap shooters. It is |
| harms the profession by making it more difficult for | | | | then that you begin to qualify to become a |
| dedicated and expert professionals to make a decent | | | | professional portrait photographer. |
| living with their craft. | | | | You see, as a professional, you are looked upon as |
| Don't get the impression that I'm whining about all | | | | an expert in your field. You must be able to deliver |
| the cheap "competition" out there taking all the work. | | | | the "goods". The "goods" in this case are excellently |
| My business is very healthy and getting better all the | | | | crafted, beautiful portraits that thrill the client... not |
| time. I continue to raise my prices twice a year, and | | | | just satisfy as being 'good enough'! So then, the |
| continue to get better and better clients. I am | | | | "Rule" is: Learn the technical skills of photography, and |
| concerned for the future of the art of fine portrait | | | | develop your artistic ability so that you can create |
| photography, and the next generation of those who | | | | the best possible portraits for your clients who are |
| put the time and effort into really learning and | | | | putting their trust in you, and investing their hard |
| perfecting their craft. | | | | earned money in the hope that you will produce |
| When I first got involved with photography I took a | | | | work above and beyond the average and ordinary. In |
| class called Photography 101. The first two weeks | | | | other words...Professional! |
| were devoted to teaching the use of the controls on | | | | |