Question:
I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive; for color negative film and/or quick grab shots where I don’t have the time to do advanced metering I use programmed exposure, honeycomb metering, + 1/2 stop to + 1 stop exposure compensation, I still AEL the exposure when I can on the back of my hand or someone’s (usually but not always Caucasian) face and I tend to use continuous focus (dependent on which AF camera I use/its/myidiosynchrosies (pardon my lack of spelling acumen here), in this case the Maxxum 7 and I use single focus on the 600si) and continuous drive (on the 600si, I’ll probably have to double check on my 7 what its set to…). I shoot mainly fast changing events and some portraits (both at the events and otherwise/less hecticly). I use manual focus (Contax) or AF (Maxxum) 35mm SLR cameras as the mood/particular need arises, trying to get intot he habit of presetting my focus on the manual camera (as well as exposure) to avoid time delay/fiddling around when I need to make a quick(er) shot. A friend of mine, a serious amature photographer who shoots mainly but not always color neg film has been more or less satisfied using matrix metering and AF (though he sometimes curses at the fact that his AF sensor isn’t small enough to focus precisely where he wants it to… My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? 
Farfenugen (or however its spelled) y’all… Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
Response:
My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving"
Depends on the camera. I suspect when using my new Minolta dynax 7, I’ll quite happily be a "passenger", although I like the option to "drive" once in a while. When using my Olympus OM-3, though, I’ll most definately be the "driver", havimg no other option. I’ve got room in my head for both styles of shooting, I hope, although this all auto business is a bit scary, I confess. I’m also trying to force myself to be right eyed at least when using the Minolta, as I don’t want to foul up the joypad thingy. All this stress….. Cheers Dave
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- Hide quoted text — Show quoted text – My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" Depends on the camera. I suspect when using my new Minolta dynax 7, I’ll quite happily be a "passenger", although I like the option to "drive" once in a while. When using my Olympus OM-3, though, I’ll most definately be the "driver", havimg no other option. I’ve got room in my head for both styles of shooting, I hope, although this all auto business is a bit scary, I confess. I’m also trying to force myself to be right eyed at least when using the Minolta, as I don’t want to foul up the joypad thingy. All this stress….. Cheers Dave
Just take a breath Dave, don’t want to kill the joy in the joypad no do we? 
I have found myself mainly using the "Green" program mode (looks a bit like the old "P" on the X-700 or the green ractangle on my Canon EOS 630 for all my quick shooting on the 7 (I don’t think that joypad still operates in this mode as the camera selects the sensor usually, even though I am loathe to let it do it, it does a pretty fair job of getting its sensor where I want it on the subject or I lift my finger up and depress/try again). For my "driver" mode I usually set two of the three memory functions for a precise list of functions/custom modes that precisely fits my style of anal shooting (usually spot metering aperture priority, exposure and flash comp and the whole nine yards plus another nine yards) a very good way to have your cake and eat it too, this way I can be both an idiot and a precisionist (no relation to the painter Sheeler) at the same time. The third memory setting is set to STF mode (smooth transition focus mode that does multiple exposures at different apertures for a smoother background blur) yet I have yet to use it, but I will, by gum, or buy Maxxum! I say I will, I will (there it is, I’ve said it!)! Regards, Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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Heavily situation dependant for me. Street shooting in daylight is usually in Aperture mode, if the light is getting iffy I go to Shutter preference – but the thumb is always on the exposure comp dial. Most other situations I’m in full manual mode. I always leave the meter set to either evaluative or center weighted. I’ve not found much (if any) difference in the results they give me. All my shooting is either AF or hyperfocal now. My eyes have become perfect for seeing composition — but not detail. I consider myself to be in the driver’s seat at all times no matter what method I’m using – I control the shutter release. I set the meter. I point the AF sensor. The camera is no smarter or capable of making a decision on it’s own than my doorbell. — http://home.nc.rr.com/tspadaro/ The Camera-ist’s Manifesto a Radical approach to photography. Old site with some pictures still up at http://www.homeusers.prestel.co.uk/magor/tony The Homestead site has been closed due to a vast overbilling, and so funny goings on from Homestead.
– Hide quoted text — Show quoted text – I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive; for color negative film and/or quick grab shots where I don’t have the time to do advanced metering I use programmed exposure, honeycomb metering, + 1/2 stop to + 1 stop exposure compensation, I still AEL the exposure when I can on the back of my hand or someone’s (usually but not always Caucasian) face and I tend to use continuous focus (dependent on which AF camera I use/its/myidiosynchrosies (pardon my lack of spelling acumen here), in this case the Maxxum 7 and I use single focus on the 600si) and continuous drive (on the 600si, I’ll probably have to double check on my 7 what its set to…). I shoot mainly fast changing events and some portraits (both at the events and otherwise/less hecticly). I use manual focus (Contax) or AF (Maxxum) 35mm SLR cameras as the mood/particular need arises, trying to get intot he habit of presetting my focus on the manual camera (as well as exposure) to avoid time delay/fiddling around when I need to make a quick(er) shot. A friend of mine, a serious amature photographer who shoots mainly but not always color neg film has been more or less satisfied using matrix metering and AF (though he sometimes curses at the fact that his AF sensor isn’t small enough to focus precisely where he wants it to… My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? Farfenugen (or however its spelled) y’all… Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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Yes Jeffery S. Harrison
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My opinion is that driver vs. passenger is a poor analogy, but typical of the incendiary hyperbole of those who want to denigrate those who have differing opinions of what is important. To me, "driving" is more about what to take, how to frame it, what kind of depth of field do I want. Correct metering and focus is a technical annoyance to be overcome to achieve acceptable results. If the automation of the camera does the job I will use it, if I find from experience that it fails for certain subject matter (like, for instance, backlit subjects) then I will keep that in mind and compensate. I won’t, in general, resort to getting obsessive about the minutia for all subjects because the automation doesn’t work for a subset. An exceptional photographer can get stunning photos out of a quality P&S with little to no ability to adjust anything. A lousy photographer can get pedestrian photos out of the finest equipment in the world while obsessing over every minute detail of the process. They are both driving, its where they take me as a passenger (i.e. a viewer of the results) that matters. Dave
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And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"?
I am the passenger And I ride And I ride…
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And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? Farfenugen (or however its spelled) y’all… Lewis
In German it is: Fahrvergnugen, the joy of driving. On my Minolta 7 and 9 I ‘m usually in the aperture mode and I estimate by experience (I’m a professional for over 27 years now) how much to correct for exposure. Leen Koper ABIPP ARPS www.fotografieleenkoper.nl
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My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"?
I consider myself to always be the driver, although my definition is somewhat different from yours. I always have final say on aperture and shutter speed no matter what mode the camera is in. I was taught that Program modes merely suggest settings and then it is my choice to accept and allow the camera to shoot at those settings, or I can reject the camera’s suggestion and set my own. Sometimes it is like driving a car with a stick shift….and other times it is like driving a car with automatic transmission and cruise control. Both situations are no less driving. And just for fun, perhaps the exposure latitude of print film is like having extra wide shoulders on both sides of the road….LOL Tim
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All my shooting is either AF or hyperfocal now. My eyes have become perfect for seeing composition — but not detail.
I wonder if there is a connection, Tony: as your eyes see less detail, your brain is freer to take account of the various "masses" in the frame, which is so often the essence of a good composition. Goody, I have found my eyesight is also going slowly but remorselessly down, so I can console myself with this thought… I consider myself to be in the driver’s seat at all times no matter what method I’m using – I control the shutter release. I set the meter. I point the AF sensor. The camera is no smarter or capable of making a decision on it’s own than my doorbell.
Depends on the camera, and the situation. EOS or Contax G2 – may depend on meter if the situation tells me it is a straightforward one, otherwise override or use manual. Most other cameras (Linhof, Mamiya 6, a couple of others) always meter separately, not least because they either have no meter, or I know it is not to be relied upon. — David Littlewood
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<snipped a bit My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? Farfenugen (or however its spelled) y’all…
When my cameras are handheld, I *drive*, in almost any mode. But when they’re on the tripod, they’re in full-manual. That’s when I *motor*. (Apologies to MINI USA) — BWB Impatience is virtual
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Actually, neither. I usually just pick up the camera and make pictures with it . . . Seriously, in the 90 percent of cases when auto exposure (aperture priority) and matrix metering will "match the needle" just fine, I let it. When the camera is going to do something stupid I override it. The only challenge, of course, is knowing when that’s necessary. The question implies that knowing how to set the controls somehow makes someone a more legitimate photographer. That may be somewhat true these days but remember it wasn’t too many years ago that auto exposure cameras were either rare or non-existant. Everyone who used a 35mm SLR had to "drive," to use your term. Funny thing is that knowing how to match a needle didn’t really help them make more interesting photos. The difference between a good photographer and a pitcher-taker is not knowing how to set exposure but it’s seeing and timing.
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"Argghh, have you ever been to the sea, Billy?" "Ooooh, Captain Hind Grinder!" "Turn around Billy, I’ll drive!" Without detailling, ad nauseum, my unique techniques (not to mention brillant and perfect, etc.) for various situations, I usually drive, however 95% will be at least in "A" or "S" mode (and mainly "A" at that), and 5% in "M". Autofocus is usually "S", but occastionally "C". About 15% of time is in manual focus. A-Exposure mode really depends on the shot, and the decision is made (so to speak) on the spot. Technical considerations aside, I’m really into making the image and getting certain elements just so. Once I know what I want, I begin knocking down the technique according to the situation and the features of the camera and lens and (if applicable) other accessories. The point is I guess, that if the camera has automatic features, I have to understand them to the point of almost setting everything manually. The automated features just get it there (or close) much quicker than I can. I’ve never shot my camera in "P", but I have in some situations, set the camera to "P" just to get its opinion. Then back to "A" and tune exposure reference as required. There is no "right way" but there certainly is a need for ways that work. Cheers, Alan. – Hide quoted text — Show quoted text – I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive; for color negative film and/or quick grab shots where I don’t have the time to do advanced metering I use programmed exposure, honeycomb metering, + 1/2 stop to + 1 stop exposure compensation, I still AEL the exposure when I can on the back of my hand or someone’s (usually but not always Caucasian) face and I tend to use continuous focus (dependent on which AF camera I use/its/myidiosynchrosies (pardon my lack of spelling acumen here), in this case the Maxxum 7 and I use single focus on the 600si) and continuous drive (on the 600si, I’ll probably have to double check on my 7 what its set to…). I shoot mainly fast changing events and some portraits (both at the events and otherwise/less hecticly). I use manual focus (Contax) or AF (Maxxum) 35mm SLR cameras as the mood/particular need arises, trying to get intot he habit of presetting my focus on the manual camera (as well as exposure) to avoid time delay/fiddling around when I need to make a quick(er) shot. A friend of mine, a serious amature photographer who shoots mainly but not always color neg film has been more or less satisfied using matrix metering and AF (though he sometimes curses at the fact that his AF sensor isn’t small enough to focus precisely where he wants it to… My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? Farfenugen (or however its spelled) y’all… Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
– Lert’s live longer. Be A Lert.
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My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"?
I find that I use ALL of the various modes my cameras provide, depending on the situation at the time that I’m shooting, the camera that I’m using, and my mood! But I think I use center focus and aperture priority more than any of the other settings. Steve Kramer Chiang Mai, Thailand — I wish to live my life deliberately, to front the essential facts of life; to suck the very marrow of life and see if I can learn what it has to teach, and not, when it comes my time to die, discover that I have not lived. —–= Posted via Newsfeeds.Com, Uncensored Usenet News =—– http://www.newsfeeds.com – The #1 Newsgroup Service in the World! Check out our new Unlimited Server. No Download or Time Limits! —–== Over 80,000 Newsgroups – 19 Different Servers! ==—–
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My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"?
I suppose I’m mainly a driver by default — my cameras have no matrix metering systems, nor do they have autofocus options. While I could shoot with auto-exposure, most of the time I find myself shooting manually. The exception, perhaps, are those time where the action is moving quickly and I otherwise want to devote my concentration to the moving subject matter rather than concerning myself with exposure. And it’s been a good number of years since I’ve used transparency film. So it’s these days it’s pretty much always color neg film, and as a regular practice, I set my lightmeter to +2/3 f/stop from the films recommeded ISO setting. I don’t know how my decisions might different if my cameras were more contemporary (i.e. with matrix metering, autofocus, etc.). Perhaps it would be different if I had those options. I’m not sure. But for now, I’m a primarily a "driver" type. CJ
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The difference between a good photographer and a pitcher-taker is not knowing how to set exposure but it’s seeing and
timing…. … and being a good composer…. and being a sensitive observer of light… and recognizing the extraordinary within the ordinary (although, admittedly, that particular one is often a factor of being a sensitive observer of light). CJ
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Auto. everything takes too long. By the time all the decisions are made, all the buttons are pushed to get it into gear, the Rollei is on the second roll. Bob Hickey http://photos.yahoo.com/rollei711
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I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive;
.. stuff snipped … Yikes, it almost sounds like you’re trying to use every control at once just because they’re there. If I’m spot metering with exposure compensation, you can bet I won’t be in autoexposure mode. I don’t want to have to keep my finger on that silly AEL button. Far simpler to just put it in manual. That way, I can do the exposure compensation by counting click stops, and the exposure stays locked where I set for as many shots as I want, without me having to worry about whether I accidentally let go of a button. I’ve occasionally used AEL or exposure compensation, but I’ve never used them both for a single shot. Manual is just easier for me. Then again, most of my cameras have neither AEL nor exposure compensation, but the "manual" technique always works. But whatever works… Most of my cameras don’t have AE, and none have AF. Only one needs batteries. I guess I ride a bicycle. –Rich
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The point is I guess, that if the camera has automatic features, I have to understand them to the point of almost setting everything manually. The automated features just get it there (or close) much quicker than I can. I’ve never shot my camera in "P", but I have in some situations, set the camera to "P" just to get its opinion. Then back to "A" and tune exposure reference as required. There is no "right way" but there certainly is a need for ways that work. Cheers, Alan.
Insightful and well said Alan Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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Auto. everything takes too long. By the time all the decisions are made, all the buttons are pushed to get it into gear, the Rollei is on the second roll. Bob Hickey http://photos.yahoo.com/rollei711
I guess your camera is on manual and you are on automatic then (just a joke, I know you control the camera but it seems like manual for you is like auto for most other people ie. effortless (though not thoughtless) ) Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
Response:
- Hide quoted text — Show quoted text – I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive; .. stuff snipped … Yikes, it almost sounds like you’re trying to use every control at once just because they’re there.
Nope , it may sound like that but I only control what I need to. I’m lazy by heart but I’ll do just enough work in order to get the shot I want, no more. Controlling the camera is the easier part, actually, its controlling the subjects that can be trouble (or bliss). And I’m even controlling my subjects less these days (more candids). Actually I’d like a camera that reads my mind so I can "focus" on the subject, until that happens, all those controls are set so I can get the shot I want – somebody has to be in control, its either me or the camera when it comes to each photographic decision (focus, exposure, etc.) – I prefer usually to "bet" on me, if I control the camera (and the rest of the shot) at least if I mess up I can be sure it is me that messes up, not because I abdicated responsibility to a bunch of glass and electronics. And when I get a good shot, that’s my "fault" LOL too Like riding a bicycle or driving a car, if you take your hands/mind off of the handle bars/wheels for too long, well, you get my "drift"…. If I’m spot metering with exposure compensation, you can bet I won’t be in autoexposure mode. I don’t want to have to keep my finger on that silly AEL button.
All my cameras (those I currently use and are not in need of repair and are automatic) all have some way of locking the AE lock _permanently_ – no exposure lock (not just exposure "hold") is a no no w/ me. Far simpler to just put it in manual.
Or even easier to use a camera w/ a real locking AE lock That way, I can do the exposure compensation by counting click stops, and the exposure stays locked where I set for as many shots as I want, without me having to worry about whether I accidentally let go of a button.
In leiu of a real exposure lock this seems reasonable (though a little bit time consuming/hardly conducive to fast changing lighting or people situations)… I’ve occasionally used AEL or exposure compensation, but I’ve never used them both for a single shot. Manual is just easier for me.
If it works for you… Then again, most of my cameras have neither AEL nor exposure compensation, but the "manual" technique always works. But whatever works…
Hey, where did I hear that before?… Most of my cameras don’t have AE, and none have AF. Only one needs batteries. I guess I ride a bicycle. –Rich
Woh, I just read this… deja vu after the fact! (about the bicycle) Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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De-focusing the eyes is an old and well respected method of seeing composition. Some people de-focus the lens. Cartier Bresson apparently walked about with an inverted viewer of some sort and would fire off the shutter when things looked "right" in the viewer. I don’t think any of his most famous shots were done this way but it was mostly a learning tool. I just wish I still had the choice. — http://home.nc.rr.com/tspadaro/ The Camera-ist’s Manifesto a Radical approach to photography. Old site with some pictures still up at http://www.homeusers.prestel.co.uk/magor/tony The Homestead site has been closed due to a vast overbilling, and so funny goings on from Homestead.
– Hide quoted text — Show quoted text – All my shooting is either AF or hyperfocal now. My eyes have become perfect for seeing composition — but not detail. I wonder if there is a connection, Tony: as your eyes see less detail, your brain is freer to take account of the various "masses" in the frame, which is so often the essence of a good composition. Goody, I have found my eyesight is also going slowly but remorselessly down, so I can console myself with this thought… I consider myself to be in the driver’s seat at all times no matter what method I’m using – I control the shutter release. I set the meter. I point the AF sensor. The camera is no smarter or capable of making a decision on it’s own than my doorbell. Depends on the camera, and the situation. EOS or Contax G2 – may depend on meter if the situation tells me it is a straightforward one, otherwise override or use manual. Most other cameras (Linhof, Mamiya 6, a couple of others) always meter separately, not least because they either have no meter, or I know it is not to be relied upon. — David Littlewood
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De-focusing the eyes is an old and well respected method of seeing composition. Some people de-focus the lens. Cartier Bresson apparently walked about with an inverted viewer of some sort and would fire off the shutter when things looked "right" in the viewer. I don’t think any of his most famous shots were done this way but it was mostly a learning tool. I just wish I still had the choice.
Sorry to hear about that Tony, it teaches me not to take my still good vision forgranted. Oddly enough I find that using a view camera has a simialr effect – not only must your mind correct for the upside down image but I think it makes you more sensitive/aware of composition. Actually I also tend to see in primarily in shapes (as well as lines, tones, colors, etc.) and find it helps simplify composition, especially when I have to juggle lots of elements. Let’s face it, once its on film or silicon its all a bunch of light shapes anyway. I don’t think I can look at objects w/o being aware of their compositional shapes, its just part of the way I see (and very useful for designing wide angle compositions where I’d be lost otherwise/w/o simplifying everything into basic shapes/patterns). Regards, Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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I am certainly glad I went to AF when I did. If I had stayed manual focus I would have a bunch of lenses to sell now and be starting all over. Just in the past year I’ve developed cataracks and am quite frankly not about to have them operated on until there is no choice in the matter. I had studied composition before I took up photography but I do remember my time both with a view camera and with TLRs as a great lesson in applied composition. Photography is the opposite of painting of course – One tries to get what is not right OUT of a photography while a painter simply puts what’s right IN, but seeing in masses of texture or colour and seeing shape is important to both. Without getting into figure/ground etc there is certainly a lot to be learned about composition looking through an imperfect viewer. I used to have a small 47 (or 48 – numbers are not my strong suit) deep blue filter. In bright sunlight it was a good way to see (more or less) how B/W film will represent colours but it was also a way of removing detail without removing sharpness – another handy tool. — http://home.nc.rr.com/tspadaro/ The Camera-ist’s Manifesto a Radical approach to photography. Old site with some pictures still up at http://www.homeusers.prestel.co.uk/magor/tony The Homestead site has been closed due to a vast overbilling, and so funny goings on from Homestead.
– Hide quoted text — Show quoted text – De-focusing the eyes is an old and well respected method of seeing composition. Some people de-focus the lens. Cartier Bresson apparently walked about with an inverted viewer of some sort and would fire off the shutter when things looked "right" in the viewer. I don’t think any of his most famous shots were done this way but it was mostly a learning tool. I just wish I still had the choice. Sorry to hear about that Tony, it teaches me not to take my still good vision forgranted. Oddly enough I find that using a view camera has a simialr effect – not only must your mind correct for the upside down image but I think it makes you more sensitive/aware of composition. Actually I also tend to see in primarily in shapes (as well as lines, tones, colors, etc.) and find it helps simplify composition, especially when I have to juggle lots of elements. Let’s face it, once its on film or silicon its all a bunch of light shapes anyway. I don’t think I can look at objects w/o being aware of their compositional shapes, its just part of the way I see (and very useful for designing wide angle compositions where I’d be lost otherwise/w/o simplifying everything into basic shapes/patterns). Regards, Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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I’m perfectly happy to be a passenger when doing family snapshots. Otherwise I’m always driving, but with varying degrees of power assist:) If it’s not moving, I’ll use multiple spot readings in manual mode. It’s the easiest way for me to get results that are predictable and what I imagined. If it’s moving, I’ll generally use aperture priority AE, compensating as needed and minding the shutter speed. In the cameras I use, this is multi-zone type metering, with emphasis given to the zone coinciding with the active AF sensor(s). I used to use Program mode with program shift more often. But for what I photograph, that’s really not so different than aperture AE, but actually more work. Aperture AE is less work because I’m usually most concerned with aperture and DOF, so with aperture AE I can just set the aperture I want for that moment instead of constantly double checking the cameras decisions in program mode. AF mode for me follows drive mode. Single shot AF for single shot drive mode, continuous AF for multiple shot drive mode. I’m always looking for simplicity in procedure when photographing. The more simple and automatic the basic functions are, the more attention I can devote to what I’m photographing and how I want it to look. Lisa – Hide quoted text — Show quoted text – I usually prefer to set (as in lock) my exposure readings and I am anal about this, especially w/ transparency film. Standard operating procedure for me is (w/ slide film); aperture priority, spot metering off the subjects’ face or back of my hand, plus 1/2 or 1/3 exposure compensation (depending on which camera I’m using and (of course, for me) AEL (automatic exposure lock), single focus mode, continuous drive; for color negative film and/or quick grab shots where I don’t have the time to do advanced metering I use programmed exposure, honeycomb metering, + 1/2 stop to + 1 stop exposure compensation, I still AEL the exposure when I can on the back of my hand or someone’s (usually but not always Caucasian) face and I tend to use continuous focus (dependent on which AF camera I use/its/myidiosynchrosies (pardon my lack of spelling acumen here), in this case the Maxxum 7 and I use single focus on the 600si) and continuous drive (on the 600si, I’ll probably have to double check on my 7 what its set to…). I shoot mainly fast changing events and some portraits (both at the events and otherwise/less hecticly). I use manual focus (Contax) or AF (Maxxum) 35mm SLR cameras as the mood/particular need arises, trying to get intot he habit of presetting my focus on the manual camera (as well as exposure) to avoid time delay/fiddling around when I need to make a quick(er) shot. A friend of mine, a serious amature photographer who shoots mainly but not always color neg film has been more or less satisfied using matrix metering and AF (though he sometimes curses at the fact that his AF sensor isn’t small enough to focus precisely where he wants it to… My question to "y’all" is whether you consider yourself mainly a "driver" (a person who likes to take control over all his MF/AF/AE settings and thinks matrix metering is for wimps – jokingly hyperbole intended) or whether you consider yourself mainly a "passenger" and let your camera do all of the "driving" as if you were on a bus or a plane or a train… (your main attitude is "don’t worry, be happy that the matrix metering, programmed exposure, and color neg film lattitude will cover my assets kind of guy" (a "guy" can be male or female here). And under what circumstances/why do you change from a driver to a passenger and vice versa? I consider myself a bit of both but mainly a "driver". How ’bouts "youze"? Farfenugen (or however its spelled) y’all… Lewis I’ve set (anti-spam) controls to allow in only people on my list. If you want to be on my list contact me through the newsgroup. I regret the inconvenience. Thanks. Check out my photos at "LEWISVISION": http://members.aol.com/Lewisvisn/home.htm
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