n r a o o K s

Pro Techniques of

CREATIVE
photography
METHODS OF THE THINKING PHOTOGRAPHER

IAN BRADSHAW
 Pro Techniques of

CREATIVE
photography
METHODS OF
THE THINKING
PHOTOGRAPHER

IAN BRADSHAW

HPBooks
C o n c e i v e d , e d i t e d a n d d e s i g n e d by
M a r s h a l l Editions Limited,
170 Piccadilly, L o n d o n W 1 V 9 D D

Art Director J o h n Bigg

Text Editor J u d y Garlick
A s s i s t a n t Editors Carole D e v a n e y
G w e n Rigby
Assistant Designer Pauline Faulks
Ruth Binney {l - '
M a n a g i n g Editor
Production Barry Baker ~ V
Janice Storr
maIfof

P h o t o g r a p h s by t h e a u t h o r ; A d d i t i o n a l
p h o t o g r a p h y by J e n n i f e r Allsopp
v: 1986 M a r s h a l l Editions Limited,
London
m
Published by HPBooks,
m
A division of H P B o o k s , Inc.
P.O. Box 5367, Tucson, AZ 8 5 7 0 3
2 n d Printing

Library of C o n g r e s s
Cataloging-in-Publication D a t a

B r a d s h a w , Ian.
Pro t e c h n i q u e s of creative
photography.

Includes index.
1. P h o t o g r a p h y — H a n d b o o k s ,
m a n u a l s , etc. I. Title.
II. Title: C r e a t i v e p h o t o g r a p h y .
TR146.B792 1986 770.28
85-81329
ISBN 0 - 8 9 5 8 6 - 3 8 0 - 4

For H P B o o k s
Publisher Rick Bailey
Executive Editor Randy Summerlin
S e n i o r Editor Vernon Gorter

Filmset by F i l m t y p e S e r v i c e s Limited.
S c a r b o r o u g h . North Yorkshire. UK
Origination by Gilchrist B r o t h e r s
Limited. Leeds. UK
Printed a n d b o u n d in
Spain by Graficas Estella SA
 Contents

6 Introduction 126 Reflections

8 T h e key q u e s t i o n s 134 Focus o n buildings
20 Best sellers 138 L o c a t i o n shots
24 B e f o r e y o u begin 144 A q u e s t i o n of scale
28 T a k e six creative p h o t o g r a p h e r s 150 T h e silhouette
44 Portraiture 156 G l a m o u r p h o t o g r a p h y
56 P h o t o g r a p h i n g c h i l d r e n 164 N u d e s
66 W e d d i n g s 168 P h o t o g r a p h i n g a n i m a l s
72 T h e p h o t o e s s a y 172 Pictures that d o n ' t exist
8 0 A story in c l o s e - u p 174 T h e h u m o r o u s v i e w
86 Cars on camera 176 Black a n d white
8 8 Sport a n d action 182 T e c h n i c a l i n f o r m a t i o n
102 T h e m o v i n g subject 189 G l o s s a r y
108 L a n d s c a p e s a n d l a n d m a r k s 190 Index
118 T i m e of d a y 192 A c k n o w l e d g m e n t s

All rights r e s e r v e d No part of this work m a y b e r e p r o d u c e d or t r a n s m i t t e d in a n y form

by a n y m e a n s , electronic or m e c h a n i c a l , i n c l u d i n g p h o t o c o p y i n g a n d recording, or by
a n y i n f o r m a t i o n - s t o r a g e or retrieval s y s t e m , without written p e r m i s s i o n f r o m t h e
P u b l i s h e r a n d C o p y r i g h t holder, except m the c a s e of brief q u o t a t i o n s e m b o d i e d in
critical articles or r e v i e w s

N o t i c e : T h e i n f o r m a t i o n c o n t a i n e d in this book is true a n d c o m p l e t e to the best of our

k n o w l e d g e . All r e c o m m e n d a t i o n s are m a d e without a n y g u a r a n t e e s o n the part of
H P B o o k s . T h e author a n d publisher d i s c l a i m all liability in c o n n e c t i o n w i t h the u s e of
this information.
INTRODUCTION
P h o t o g r a p h y is b e c o m i n g e a s i e r : m o d e r n technology n o w
m a k e s it possible f o r anyone with a c a m e r a to t a k e perfectly
e x p o s e d , s h a r p pictures. S o m e c a m e r a s e v e n s p e a k , r e m i n d -
ing you to load the film. But w h e t h e r you o w n a simple c a m e r a
o r a c a s e full of e x p e n s i v e e q u i p m e n t , w h e t h e r you are a
b e g i n n e r o r an e x p e r i e n c e d professional, you can i m p r o v e
y o u r p i c t u r e s b y thinking clearly and creatively.
W H O ? W H A T ? W H E R E ? W H E N ? WHY? and H O W ? w e r e
once t h e k e y w o r d s of the g r e a t d e t e c t i v e s . Applied to
p h o t o g r a p h y , t h e a n s w e r s t o t h e s e q u e s t i o n s can turn an ab-
solute b e g i n n e r into a thinking p h o t o g r a p h e r . T h i s book d o e s
not tell you which c a m e r a t o b u y or e v e n w h a t e q u i p m e n t you
n e e d . B u t it d o e s tell you h o w to i m p r o v e y o u r p h o t o g r a p h s b y
thinking clearly and asking t h e right q u e s t i o n s .
W h e t h e r the s u b j e c t is p o r t r a i t u r e , children, still-life, w e d -
dings, photojournalism, s p o r t , glamour, landscapes, travel,
animals o r a r c h i t e c t u r e ; w h e t h e r you a r e taking y o u r first pic-
t u r e o r y o u r t h o u s a n d t h , t h e s a m e r u l e s apply. T h i s book tells
you h o w to anticipate, i n t e r p r e t a n d e x e c u t e y o u r p h o t o g r a p h s
creatively. M a n y of t h e situations d e s c r i b e d have b e e n
p h o t o g r a p h e d t o illustrate the thinking p r o c e s s in particular
r a t h e r than photographic t e c h n i q u e s in general. O f t e n t h e y
s h o w t h e p h o t o g r a p h e r at work, as well a s the final r e s u l t s .
Developing t h e knack
T h e thought p r o c e s s e s outlined in a section of this book m a y
b e up t o eight p a g e s long, s h o w i n g t h e d e v e l o p m e n t of an idea
f r o m bad t o good, o r e v e n g r e a t . T h e s e t h o u g h t s flash t h r o u g h
t h e m i n d of an e x p e r i e n c e d p h o t o g r a p h e r almost intuitively, in
seconds.
I a p p r o a c h all m y a s s i g n m e n t s in t h e s a m e w a y . Plan a s
m u c h a s possible. R e s e a r c h a n d anticipate, b u t always e x p e c t
t h e u n e x p e c t e d . I t r y t o view a situation a s if I w e r e an infinitely
variable z o o m lens — f r o m e x t r e m e w i d e angle t o s u p e r
t e l e p h o t o ; standing b a c k t o view the overall p i c t u r e o r closing
in o n a small detail; looking up, d o w n and f r o m t h e side.
T h e r e is o n e golden rule that e v e r y p h o t o g r a p h e r should
follow: K e e p it simple. T h e b e s t i d e a s a r e the simple o n e s .
T h e m o r e complicated t h e c o n c e p t , t h e m o r e confusing t h e
image. All t h e g r e a t p h o t o g r a p h s t a k e n o v e r t h e y e a r s h a v e
b e e n simple and u n c l u t t e r e d .
T h a t basic simplicity h a s b e e n applied t o t h e p r e p a r a t i o n of
this book. T h e r e a r e n o long, theoretical e s s a y s — j u s t t h e
p h o t o g r a p h s , t o g e t h e r with concise advice k e y e d t o t h e pic-
t u r e s . Although I h a v e tried to k e e p t h e text uncomplicated,
t h e r e a r e inevitably a f e w technical t e r m s unfamiliar to t h e
b e g i n n e r . T h e r e is a g l o s s a r y at t h e back of the book that
explains t h e m .
In o n e section, six p h o t o g r a p h e r s with widely differing
s t y l e s a r e given a model in a b a r e r o o m , a c a m e r a with a
s t a n d a r d lens, a flash, a tripod and a choice of film. T h e r e s u l t s
s h o w h o w d i f f e r e n t p e o p l e s e e t h e s a m e subject. By t h e s a m e
t o k e n , t h e r e a r e n o absolute guidelines for good o r bad in
p h o t o g r a p h y . P e o p l e s e e things differently and their appreci-
ation is largely a m a t t e r of p e r s o n a l opinion. As r e a d e r and
p h o t o g r a p h e r , you m a y or m a y not a g r e e with t h e v i e w s e x -
p r e s s e d h e r e . But t o f o r m any opinions at all you m u s t think,
and that is exactly what this book is all about.
W h a t m a k e s a good picture?
A n s w e r the q u e s t i o n s W H O ? W H A T ? W H E R E ? W H E N ?
WHY? a n d H O W ? and a good p i c t u r e is not far away. B u t t h e r e
a r e n o a b s o l u t e s in p h o t o g r a p h y . P e r s o n a l opinions differ, and
w h a t one p e r s o n loves a n o t h e r may loathe. E v e n a m o n g
professionals t h e r e is a w i d e variety of t a s t e a n d p r e f e r e n c e .
T h e r e a r e many p h o t o g r a p h s , h o w e v e r , that a large c r o s s -
section of p e o p l e a g r e e a r e good or e v e n great. S u c h p i c t u r e s
h a v e a visual impact that c a t c h e s t h e e y e of e v e n the m o s t
casual o b s e r v e r . P h o t o g r a p h s such a s the S t r e a k e r at
T w i c k e n h a m ( s e e p. 20) do not happen o f t e n but t h e y b e c o m e
k n o w n worldwide.
T h e t h i n k i n g process
S o j u s t w h a t m a k e s a good p h o t o g r a p h and h o w do you t a k e
o n e ? N e a r l y all g r e a t p h o t o g r a p h s a r e essentially simple with
a s t r o n g focal point. D e s i g n is also important, and t h e e y e m u s t
b e led to that point.
M o s t of t h e p h o t o g r a p h s in this book o w e their s u c c e s s to
thought and creativity, not to unusual l e n s e s a n d a d v a n c e d
t e c h n i q u e s . M a n y w e r e t a k e n using l e n s e s within t h e s t a n d a r d
focal length r a n g e . T h e p i c t u r e s w o r k b e c a u s e they have b e e n
thought out, s o m e t i m e s with c a r e f u l advance planning, o t h e r
t i m e s by fast-thinking o p p o r t u n i s m . T h e y a r e n e a r l y ail basic-
ally simple and uncomplicated by technical know-how.
M o s t p h o t o g r a p h s a r e t a k e n in color t h e s e days, but s o m e
w o r k much b e t t e r in black and white — indeed t h e y positively
c r y out f o r this t e c h n i q u e . T h e thinking p r o c e s s t h u s e x t e n d s
t o film as m u c h a s t o c a m e r a angles and s u b j e c t m a t t e r .
Thinking is also essential in choosing e q u i p m e n t . It m a k e s
little economic s e n s e t o buy an e x p e n s i v e lens if you will u s e
it only o n c e o r twice a year. T h e fisheye lens for t h e s h o t of
S t Paul's C a t h e d r a l ( s e e p. 18) w a s r e n t e d f o r t h e occasion.
You d o not n e e d a soft-focus filter w h e n you c a n b r e a t h e o n the
lens o r s h o o t through c r u m p l e d cellophane and g e t the s a m e
effect.
C o n t r a r y t o popular belief, e q u i p m e n t is not the m o s t impor-
tant factor in taking a good picture. While many a m a t e u r s
b e d e c k t h e m s e l v e s with t h e " j e w e l r y " of t h e t r a d e , m o s t
p r o f e s s i o n a l s strive t o lighten their load. E v e n if you have
e v e r y lens and filter o n t h e m a r k e t , if you can't think, you can't
shoot.
T h e following p a g e s illustrate the thinking approach t o the
six k e y q u e s t i o n s .
IAN BRADSHAW
THE KEY QUESTIONS/1

WHO?
In p o r t r a i t u r e W H O ? is always a key question, but it is not
n e c e s s a r i l y t h e only o n e t h e p h o t o g r a p h e r h a s to a n s w e r suc-
cessfully. In this instance, it w a s t h e r e s p o n s e s to W H E R E ?
and H O W ? that supplied t h e p h o t o g r a p h with its finishing
touches.
Jill Kennington, a t o p international model in the 1960s,
r e t u r n e d to modeling at the a g e of 40. M y a s s i g n m e n t w a s to
p h o t o g r a p h a fashion s p r e a d f o r a magazine, and b e c a u s e Jill
w a s being f e a t u r e d as a " n a m e " and n o t j u s t a n o t h e r model, a
good, s t r o n g portrait w a s n e e d e d for the c o v e r . Running
quickly t h r o u g h the checklist: WHY? w a s obvious — t h e j o b
w a s a direct a s s i g n m e n t . W H E N ? w a s dictated by t h e p r e -
b o o k e d s e s s i o n t i m e . Although W H O ? w a s the starting point,
t w o f a c t o r s , W H E R E ? and H O W ? t u r n e d t h e basic idea into
t h e s t r o n g image c h o s e n b y t h e publishers that eventually
dominated the magazine's cover.
I originally imagined t h e p i c t u r e a s being shot against a plain
r e d background to k e e p it simple. T h e a d v a n t a g e of this f r o m
t h e graphic d e s i g n e r ' s point of view w a s that t h e r e would be
plenty of s p a c e f o r logos and copy. S e e n through the lens,
h o w e v e r , the image lacked the impact I had anticipated. With
little r o o m to m a n e u v e r , I t u r n e d to possible alternatives.
T h r e e small t r e e s standing back-lit in t h e c o r n e r of t h e studio
parking lot provided t h e inspirational s p a r k .
T h e s e s s i o n w a s hastily m o v e d o u t d o o r s . I u s e d a simple
white reflector, in this instance a p i e c e of white card, t o reflect
light on t o Jill's f a c e u n d e r the brim of h e r hat. A 5 0 0 m m m i r r o r
lens m a d e t h e back-lit l e a v e s a p p e a r a s out-of-focus d o u g h n u t
s h a p e s and gave a s t r o n g s e p a r a t i o n b e t w e e n subject and
background.

T h e o r i g i n a l idea was for a A simple move outdoors

plain red background, so Jill's
straw hat would stand out, and
soft light to lessen any skin
blemishes. But the picture
lacked impact and the red
background was too dull.
meant I could take advantage of
the bright sunlight and the
trees. A reflector increased the
light on the face. A mirror lens
"created" the background while
adding impact to Jill's gaze.
WHAT?
L a r g e , popular e v e n t s a r e o f t e n s o b u s y that it is difficult to
isolate t h e b e s t pictures. W H A T ? h e r e is C r u f t ' s D o g S h o w in
London, w h e r e t o p d o g s c o m e to b e judged. On s u c h an
occasion many p h o t o g r a p h e r s c o n c e n t r a t e o n the d o g s and
their o w n e r s . P i c t u r e s of p e o p l e r e s e m b l i n g their p e t s h a v e
b e c o m e familiar f e a t u r e s in n e w s p a p e r and magazine
c o v e r a g e . It is p e r h a p s logical t o think in this direction, but t h e
b e s t p i c t u r e at a dog s h o w is not n e c e s s a r i l y of a dog.
W H E R E ? a n d HOW? t a k e a back s e a t in this e x a m p l e .
WHY? is simply that this is o n e of the f u n n i e s t p i c t u r e s to c o m e
out of the s h o w for s o m e time. It s u c c e e d s b e c a u s e t h e r e is
not a single dog in t h e picture, y e t it s a y s Dog Show s o clearly
you do not n e e d to r e a d t h e caption.
T h e W H E N ? w a s the o b e d i e n c e class, in which d o g s a r e
walked a r o u n d obstacles, in this instance t h r e e s e a t e d officials.
T h e p o s e and e x p r e s s i o n s of t h e t h r e e say, quite simply, Sit.
T h e timing w a s s u c h that all t h r e e e x p r e s s i o n s w e r e c a p t u r e d
perfectly.
T h e p h o t o g r a p h w a s t a k e n for a n e w p a p e r and w a s ,
t h e r e f o r e , black and white, but it probably would not have
w o r k e d half as well in color. T h e s t a r k quality of black and
w h i t e f o c u s e s t h e h u m o r of the situation. M a n y really
h u m o r o u s p h o t o g r a p h s are t a k e n in black and white and a p p e a r
in n e w s p a p e r s r a t h e r than magazines. Sadly, h o w e v e r , t h e
n u m b e r of black and white p i c t u r e s t a k e n by a m a t e u r s is
d e c r e a s i n g all the t i m e .

A p r e d i c t a b l e v i e w of the S h a r p o b s e r v a t i o n and a little

main judging ring at Cruft's
shows what you expect to see
at such an event — dogs.
thought produced a study of the
human element of the show,
with not a dog in sight.
Technically, nothing more was
required to make this picture
than a camera with a standard
lens.
dog, food
e r a etc
TWiWEMOStfOOeM I T* WQWiV.
WHERE?
M a n y g r e a t p i c t u r e s a r e the result of s o m e o n e being in t h e
right place at t h e right time. O p p o r t u n i s m is t h e k e y n o t e h e r e :
I could not h a v e anticipated this picture.
W H A T ? W H E R E ? and W H E N ? w e r e accidental. I w a s driv-
ing h o m e f r o m shopping and s p o t t e d a potential picture a s early
e v e n i n g mist rolled o v e r a valley at s u n s e t . WHY? w a s t h e
c h a n c e of a beautiful d u s k landscape; HOW? p r e s e r v e d t h e
moment.
I had a 3 5 m m c a m e r a with a 5 0 m m lens in t h e c a r and just
t w o f r a m e s of E k t a c h r o m e 64 left on the roll. T h e r e w a s no
s p a r e film and n o tripod. It would h a v e b e e n e a s y to admire t h e
view f r o m the w a r m t h of t h e c a r and drive on h o m e . B u t t h e
c h a n c e of a good picture w a s not t o be m i s s e d .
I " a b a n d o n e d " r a t h e r than p a r k e d the car, s p e e d being a
n e c e s s i t y in t h e rapidly changing light. With slow color film in
t h e c a m e r a , a relatively long e x p o s u r e w a s n e c e s s a r y . I had,
t h e r e f o r e , to find a firm b a s e o n which t o r e s t t h e c a m e r a .
F o r t u n a t e l y t h e r e w a s a low, fiat t r e e trunk b y the roadside,
and I held the c a m e r a down firmly o n this natural tripod. I t o o k
t w o e x p o s u r e s , b o t h g u e s s e s , but the g a m b l e paid off.
I h a v e p a s s e d that spot h u n d r e d s of t i m e s since, but t h e light
h a s n e v e r b e e n the s a m e . S o t h e r e is an e x t r a l e s s o n t o b e
l e a r n e d h e r e : B e r e a d y at all t i m e s to t a k e g r e a t p i c t u r e s .

With i n s t a n t improvisation A long, 4 - s e c o n d e x p o s u r e

a tree trunk became a at tills lime of day alters the
sturdy "tripod" for a long color balancc of the film, a
exposure. phenomenon known as
reciprocity failure. Here, it has
enhanced the rich colors of the
sky, and the misty valley floor
contrasts well with the sunset.
WHEN?
T i m e of day h a s a vital effect on p h o t o g r a p h s . T a k e , f o r in-
s t a n c e , this s c e n e — a sailboard on a flat blue sea. T h e
p h o t o g r a p h e r ' s p r o b l e m is h o w to m a k e it look different f r o m
any o t h e r s n a p s h o t of the s a m e s c e n e . W H E N ? is t h e k e y
question and is closely linked with H O W ?
W a t e r c a n b e blue, g r e e n , clear or m u d d y . It c h a n g e s color
according to the sky — and t h u s t h e time of day — and the
angle f r o m w f hich it is v i e w e d . W a t e r can also act as a mirror,
and it w a s this thought thai inspired me. T h e w e a t h e r w a s too
calm for an action shot, but the tranquil s c e n e could still c r e a t e
impact with the right lighting.
W H E R E ? and WHY? w e r e s t r a i g h t f o r w a r d h e r e . H O W ?
really b e c a m e W H E N ? In t h e late afternoon, w h e n the s u n w a s
low in t h e sky, t h e angle of its light w a s r e f l e c t e d off t h e s u r f a c e
of t h e s e a as f r o m a m i r r o r . B e c a u s e I e x p o s e d f o r the
highlights (reflections), the s k y d a r k e n e d and the sailboard w a s
s h o w n in silhouette. T h e flat s e a suddenly c a m e to life, provid-
ing a s t r o n g visual impact and a t i m e l e s s travel p h o t o g r a p h .
HOW? m e a n t waiting a long time for the light t o b e right. S o
this e x e r c i s e e m p h a s i z e s a n o t h e r a t t r i b u t e a c r e a t i v e
p h o t o g r a p h e r m u s t have — p a t i e n c e . You cannot carry it in a
c a m e r a bag, but it is just as important as your e q u i p m e n t .

In t h e m i d d a y s u n , this The near-monochrome

photograph is no more than a
conventional snapshot. It has
neither action nor atmosphere.
All the details of sail and sea
are visible, but the picture has
little excitement.
e f f e c t achieved by waiting for
the light to change helps to
create a picture with immediate
impact. The lack of color
actually contributes to a feeling
of warmth and exhilaration.
WHY?
L o n d o n ' s Kings Road p r o v i d e d a light-hearted s h o t out of an
ordinary s c e n e , achieved by anticipation and quick thinking at
s h o r t notice. T h i s is a n o t h e r e x a m p l e of o p p o r t u n i s m . T h e
408 THE
WHY? e l e m e n t w a s s e e i n g an a m u s i n g (and also eminently
saleable) p i c t u r e in s o m e t h i n g that w a s a b o u t to happen.
W H E R E ? and W H E N ? w e r e accidental. I w a s lucky enough to
b e in t h e right place at the right time. W H O ? and W H A T ? ,
which n o w s e e m obvious, relied at t h e time upon s h a r p ob-
s e r v a t i o n of a developing s t r e e t s c e n e .
T w o n u n s w e r e going f r o m s h o p to shop collecting for char-
ity, w o r k i n g their way down o n e side of the road. When I first
s p o t t e d t h e m t h e y w e r e a f e w d o o r s a w a y f r o m a shop n a m e d
The Liberated Lady. I had to think quickly and positively. I had
no control o v e r t h e situation, s o I had to w o r k out HOW? in a
m o m e n t . T h e shop sign w a s important, s o a s t r a i g h t f o r w a r d
viewpoint s e e m e d a good idea, not only to give t h e p h o t o g r a p h
a built-in caption, but also to u s e the s h o p f r o n t as a f r a m e for
t h e picture. Once I had decided on the angle, W H E N ? m e a n t
waiting f o r t h e n u n s t o arrive, e n t e r t h e shop and e m e r g e . I
had time f o r one e x p o s u r e .
T h e p h o t o g r a p h has since sold well in English-speaking
c o u n t r i e s . It h a s the qualifications of a b e s t seller in its sim-
plicity and g e n t l e h u m o r that will, I t r u s t , offend no one.

S8MSP

At first s i g h t this was not a T w o n u n s in a h u m o r o u s

promising location for a good
photograph — just an ordinary-
row of shops on a bend in a
road that could be almost
anywhere.
s e t t i n g and a simply framed
viewpoint turned the picture
into a timeless photographic
cartoon and a best seller.
HOW?
Clear thinking m a y not b e e n o u g h w h e n you a r e faced with a
difficult subject; you n e e d a little technical a s s i s t a n c e . T h i s
p i c t u r e p r e s e n t e d s u c h a challenge. A large architectural
interior is o n e of the m o s t difficult s u b j e c t s to p h o t o g r a p h and
t h e h a r d e s t to visualize. Imagination w a s also n e c e s s a r y h e r e .
T h e h u m a n e y e ' s normal held of s h a r p vision h a s a r a n g e of
about 60°. C o n s e q u e n t l y , a visitor t o St Paul's C a t h e d r a l in
London finds it impossible to t a k e in t h e magnificent splendor
of t h e interior of t h e d o m e a s a whole. Similarly, with a stan-
d a r d c a m e r a lens, only a small p a r t of the v a s t d o m e is visible.
T h e problem of H O W ? t o c a p t u r e the e n t i r e s t r u c t u r e o n film
w a s intriguing e v e n if, eventually, the a n s w e r w a s logical.
M y s t a r t i n g point w a s the fact that t h e main part of the
building is circular. Why not t a k e a circular p h o t o g r a p h ? T h e
H O W ? w a s , t h e r e f o r e , a Nikon 6 m m fisheye lens. T h i s h a s an
e x t r e m e w i d e angle of view and t h e r e f o r e s e e s beyond the
normal horizontal plane of the " s t a n d a r d " 8 m m f i s h e y e lens.
W H E N ? had t o b e early morning, w h e n the cathedral w a s
e m p t y , o t h e r w i s e t h e wide angle would include a n y b o d y within
r a n g e , and t o u r i s t s quickly a c c u m u l a t e f r o m 10 a . m . o n w a r d .
W H E R E ? w a s e a s y — t h e r e is a m a r k on the floor exactly
u n d e r the c e n t e r of t h e d o m e . I placed the c a m e r a on this spot
looking s t r a i g h t up in o r d e r to t a k e a d v a n t a g e of the s y m m e t r y
of t h e design. I c h o s e a 6 m m fisheye instead of t h e " s t a n d a r d "
8 m m fisheye (that is, t h e 220° angle of view of a 6 m m lens a s
o p p o s e d to the 180° angle of view of an 8 m m lens) s o that the
black and w h i t e c h e c k e r e d floor of the cathedral would give t h e
picture a natural b o r d e r .
You d o n ' t have t o b u y a fisheye lens. T h e t i m e s you will u s e
it a r e f e w . I r e n t e d o n e f o r this e x e r c i s e . Also, if you d o u s e
one, m a k e s u r e it is b e c a u s e the lens is the right tool for the
j o b r a t h e r than, as in m a n y photographs, m e r e l y a gimmick.

A s t a n d a r d 5 0 m m l e n s gives me a chance to hide behind a

a limited view of the inside of
the mighty dome of St Paul's.
A s e n s a t i o n a l v i e w is
produced with a 6mm fisheye
lens. I used the self-timer
mechanism on the camera to give
nearby pew. Even the most
accurate exposure meter would
have produced difficulties here,
so I took a wide range of
exposures. Since I had rented the
lens, it was worth using plenty of
film to get the picture right.
BEST SELLERS
You do not h a v e to b e a professional p h o t o g r a p h e r t o t a k e a
best-selling picture. By being in t h e right place at t h e right
time, and b y k e e p i n g alert to what is happening, an a m a t e u r
p h o t o g r a p h e r c a n c a p t u r e an historic m o m e n t on film. S u c h
m o m e n t s a r e r a r e , but they h a v e h a p p e n e d .
I w a s f o r t u n a t e e n o u g h to t a k e such a p i c t u r e in 1974. It not
only h a d a t r e m e n d o u s impact in t h e publishing world but cap-
t u r e d the imagination of all w h o saw it. It has r e m a i n e d a b e s t
seller m o r e than t e n y e a r s later.
I w a s o n an a s s i g n m e n t for a national n e w s p a p e r , covering
the England vs. F r a n c e rugby m a t c h at T w i c k e n h a m in Lon-
don. " S t r e a k i n g " had b e c o m e a c r a z e that year, and the first
half of the m a t c h had just e n d e d w h e n , in f r o n t of a h u g e c r o w d
that included royalty, Michael O ' B r i e n s e t off o n his n o w -
f a m o u s s t r e a k . T h e Australian, w h o m a d e his d a s h for a b e t
(for t h e exact a m o u n t h e w a s s u b s e q u e n t l y fined), leaped
naked f r o m t h e c r o w d and ran a c r o s s t h e field.
T h e r e w e r e many p h o t o g r a p h e r s at t h e match, but play in
t h e first half had e n d e d at one e n d of t h e field. M o s t of t h e m
w e r e t o o far a w a y t o catch the latest action. I had b e e n
p h o t o g r a p h i n g t h e g a m e f r o m o n e spot and w a s reloading one
of m y c a m e r a s w h e n t h e incident h a p p e n e d . I w a s using a
c a m e r a with a 2 0 0 m m lens a n d b e g a n taking p i c t u r e s as the
d r a m a unfolded.
Police r u s h e d the s t r e a k e r w h o , f o r a change, w a s a good-
looking m a n with a fine physique. While two policemen took an
a r m e a c h , a third w h i p p e d off his h e l m e t and tried t o shield the
m a n ' s p r i v a t e p a r t s f r o m the c r o w d ' s g a z e . T h e h e l m e t w a s far
f r o m stationary, h o w e v e r , and I r e m e m b e r thinking that if I did
not g e t m y timing right a n d c a p t u r e it on c e n t e r , the
p h o t o g r a p h would n e e d a lot of r e t o u c h i n g b e f o r e it a p p e a r e d
in the n e x t d a y ' s p a p e r . S o I c o n c e n t r a t e d on t h e h e l m e t and
s l o w e d dowTi m y r a t e of picture-taking, waiting f o r the right
moment.
It s e e m e d to h a p p e n all at o n c e . O n e of the g o o d - h u m o r e d
policemen said s o m e t h i n g to O'Brien, w h o flung his a m i out,
and the h e l m e t w e n t d e a d c e n t e r . I k n e w I had the picture, but
at that m o m e n t I did not notice its o t h e r main ingredient. An
o u t r a g e d official w a s dashing u p with an o v e r c o a t to shield the
s t r e a k e r f r o m royal view. A s I r e l e a s e d t h e s h u t t e r h e
a p p e a r e d in t h e f r a m e . A f a m o u s p h o t o g r a p h w a s m a d e .
BEST SELLERS

PERENNIAL FAVORITES
T h e t i m e l e s s l a n d s c a p e is a
best-selling theme. This dead
elm tree on a country road
could be anywhere. Such a
general landscape photograph
has many uses as a background
picture in brochures. Scenes
that remain the same over the
years and do not need updating
because of changing fashions or
skylines are always in demand.
Pictures with areas of blank
spaces for logos or captions are
also useful to advertisers, for
example.

W i n t e r l a n d s c a p e s can be
good sellers too. perhaps
because photographers'
reluctance to venture out in
harsh conditions means that
fewer scenes such as this arc
taken. The seasonal uses of
such photographs range from
the relatively exotic, in
calendars and greetings cards,
to the more mundane, as in
advertisements for insulation or
heating systems.

The classic sunset picture

is also popular, such as this
example from Key West,
Florida. It appears time and
again in holiday brochures, in
yachting magazines, and in
literature on leisure activities
and retirement. Such a picture
is an even more familiar feature
on calendars, postcards and as
a background shot in catalogs.
BEFORE YOU BEGIN
F a c i n g up t o t h e s h o o t b e g i n s b e f o r e you leave h o m e , not at E x c u s e s for unadventurous, unsuccessful photography are
t h e point of picture-taking. Clear thinking and advance plan- legion. M o s t c o m m o n a m o n g t h e m a r e : " M y c a m e r a can't t a k e
ning, plus anticipation of potential problems, m a k e it e a s i e r to p i c t u r e s like t h a t . " What the would-be p h o t o g r a p h e r m e a n s is
t a k e good p i c t u r e s later. So, b e f o r e you s t a r t taking "I can't t a k e p i c t u r e s like t h a t , " but n e i t h e r s t a t e m e n t is
p h o t o g r a p h s , S T O P ! and T H I N K ! n e c e s s a r i l y t r u e . E v e n the simplest of c a m e r a s is m o r e v e r -
W H O o r W H A T am I going t o p h o t o g r a p h ? W H E R E am I satile than m a n y p e o p l e think, and all p h o t o g r a p h e r s are cap-
going t o do it? W H E N will I b e taking pictures? HOW am I able of using their brains to w o r k out the solution to a problem.
going to a p p r o a c h t h e shot? WHY is it w o r t h taking? T h e n , M a n y e x c u s e s a r e m a d e f o r not taking pictures, and s o m e
what will t h e light b e like; will I n e e d a flash; what film shall I sound r e a s o n a b l e : " I t ' s t o o dark. It's t o o bright. I can't t a k e
u s e ; what p r o b l e m s might occur? You should a n s w e r all of p h o t o g r a p h s into t h e sun. I t ' s raining." H e r e are s o m e
t h e s e q u e s t i o n s b e f o r e s e t t i n g out t o avoid last-minute panic p h o t o g r a p h s that m a n y p e o p l e would say a r e impossible, not
and d i s a p p o i n t m e n t at t h e s c e n e . b e c a u s e t h e subject m a t t e r d o e s not exist ( s e e p. 172), but
All good professional p h o t o g r a p h e r s think long and hard b e c a u s e t h e naked e y e d o e s not n e c e s s a r i l y s e e a s c e n e in the
about an a s s i g n m e n t , s o m e t i m e s f o r d a y s b e f o r e a shoot. s a m e w a y as a c a m e r a lens.
T h e y o f t e n plan a " s a f e t y s h o t " — a p r e c o n c e i v e d idea t o fall
back on if all e l s e fails. Such s a f e t y m e a s u r e s are m o r e o f t e n
than not discarded, but they occasionally help you avoid a
disastrous session.
If you o w n a g r e a t deal of e q u i p m e n t , advance planning m u s t
include decisions about l e n s e s , filters, c a m e r a bodies and s o
on. But e v e n with a basic c a m e r a and lens t h e r e a r e still impor-
tant m a t t e r s f o r consideration.
First is choice of film. U n l e s s you w a n t special e f f e c t s , t h e
basic rule is t o u s e the s l o w e s t available film for t h e job. It is
a l w a y s t e m p t i n g to c h o o s e a f a s t film s o you can handhold t h e
c a m e r a , but don't b e reluctant to u s e s l o w e r film and a tripod
o r o t h e r firm b a s e . T h e difference in t h e quality of t h e e n d
result is considerable.
Second, d o you u s e t r a n s p a r e n c y , color negative film (print
film) o r black and white? T h i s is largely a m a t t e r of personal
p r e f e r e n c e . C o n s i d e r the result you want. F o r prints, negative
film is b e t t e r , w r hether color o r black and white. N e g a t i v e film
h a s a much wider e x p o s u r e t o l e r a n c e and latitude than r e v e r -
sal film, which p r o d u c e s t r a n s p a r e n c i e s . If you h a v e any plans
f o r publishing y o u r pictures, h o w e v e r , t r a n s p a r e n c i e s a r e a
m u s t . (All the color p i c t u r e s in this book a r e f r o m t r a n s -
p a r e n c i e s . ) E x p o s u r e h a s to b e m o r e a c c u r a t e than with
n e g a t i v e film, since t h e r e is no w a y of c o m p e n s a t i n g for it in
t h e d a r k r o o m . A t r a n s p a r e n c y should b e slightly o n t h e d a r k
side ( u n d e r e x p o s e d ) t o give good, rich r e p r o d u c t i o n . T h e only
e x c e p t i o n to this is with a high-key subject, such a s b e a u t y
p o r t r a i t u r e , w h e r e a slightly o v e r e x p o s e d t r a n s p a r e n c y (light-
e r than normal) h e l p s k e e p t h e skin t o n e s s m o o t h and clean.

What o t h e r i t e m s should b e on y o u r checklist w h e n facing

up to t h e s h o o t ? Apart f r o m c a m e r a angles and lighting, think
about t h e various " i m p a c t " tricks at y o u r disposal: h o w a b o u t
a reflection o r a silhouette, o r e v e n a double e x p o s u r e ? Do you
n e e d to r e n t any special e q u i p m e n t such as a fisheye lens? W h y
not p h o t o g r a p h at night instead of during t h e day? T h e r e a r e
m a n y options t o b e c o n s i d e r e d b e f o r e the shoot begins. So,
r e m e m b e r to S T O P : and T H I N K !

T h e R o c k of G i b r a l t a r was
almost invisible to the naked
eye when I took this picture.
When asked what exposure I
used. I can only reply, "A dry
martini at /-8!" I was sitting on
the balcony of an apartment in
Spain and could vaguely see the
KEEPING AN OPEN MIND/1
outline of Gibraltar, topped with
colored lights. With no real idea
of what would happen. I decided
to set up the camera with a
500mm lens on a sturdy tripod,
focused on infinity and opened
the shutter. The camera was
loaded with Kodachrome 64
film. I then enjoyed a leisurely
drink before closing the
shutter. Do not worry about
exact exposure times when
they are as long as this.
M a n h a t t a n at n i g h t docs not right. In this instance, I held
look like this to the naked eye, the camera firmly on a low wall
which is swamped by the bright and made an exposure of about
lights. The eye cannot discern 20 seconds. The river's flow
color in the sky, or in the turned the reflections into
shadows. A long exposure of colored blurs. Still water would
color film at night can enrich have given a clear mirror
the hues both of sky and image, which could have been
reflections due to reciprocity overpowering.
failure. The exposure for tliis
kind of subject is difficult, even
with a meter, so 1 advise that
you try several combinations of
shutter speed and aperture
setting to make sure you get it
BEFORE YOU BEGIN

KEEPING AN OPEN MIND/2

•A \
4™

You can t a k e p i c t u r e s i n t o
t h e s u n . This photograph of a
Cretan windmill even has the
sun in the picture. It was a
broken-down old mill that was
unimpressive when viewed
from the other side with the
sun shining on it. But, because
I exposed for the sun, the
windmill is silhouetted against
the sun itself, and an ordinary
subject becomes picturesque,
conveying a feeling of
Mediterranean warmth.

Power towers are

p h o t o g e n i c . A rich, orange
sunset silhouettes the line of
towers and gives the picture a
strong graphic quality. A
normally mundane subject was
thus transformed. This
photograph has sold well as a
background for advertisements
and for annual reports in the
business world.
D o not p u t y o u r c a m e r a
a w a y in w i n t e r with the
excuse that there is not enough
light. Cold, gray days can
provide pictures, too, especially
if there is snow on the ground.
This photograph was taken
without ever leaving the
warmth of home from a
window overlooking Central
Park in New York. A figure in a
landscape gives an idea of scale
and adds depth to an otherwise
ordinary' scene.
TAKE SIX CREATIVE PHOTOGRAPHERS
E v e n - b o d y s e e s p i c t u r e s differently, and individual photo-
g r a p h e r s a p p r o a c h t h e s a m e a s s i g n m e n t in a variety of w a y s .
T h e following 16 p a g e s s h o w t h e vastly different w o r k of six
professional p h o t o g r a p h e r s faced with the s a m e basic situation.
T h e six p h o t o g r a p h e r s , e a c h a specialist in his or h e r o w n
field — photojournalism, l a n d s c a p e s , fashion and still-life —
w e r e a s k e d t o p h o t o g r a p h a m o d e l in a b a r e r o o m . T h e y w e r e
given the s a m e e q u i p m e n t , the s a m e model (in the s a m e
clothes), t h e s a m e r o o m . ?.: id t h e y all w o r k e d on the s a m e day.
E a c h w a s given o n e h o u r to p r o d u c e a p h o t o g r a p h o r a s e r i e s
of p h o t o g r a p h s . T h e choice of film w a s left to the individual,
but. a p a r t f r o m that and the s u n moving a r o u n d the building
during t h e day, the conditions w e r e t h e s a m e for all six.
T h e model, Vicki Michelle, is an a c t r e s s who h a s had
modeling e x p e r i e n c e . S h e w o r e j e a n s , j a c k e t , T-shirt and
high-heeled s h o e s to the s e s s i o n . T h e p h o t o g r a p h e r s w e r e
allowed t o v a r y h e r clothes, m a k e - u p and hair. T h e r o o m w a s
on the t o p floor of a w a r e h o u s e , b a r e e x c e p t for a s t e p - l a d d e r
and s o m e old c u r t a i n s at t h e windows. T h e r e w e r e w i n d o w s
d o w n each side of the r o o m , giving soft cross-lighting, and a
b a r e brick wall t o t h e r e a r . T h e floor w a s laid with pine b o a r d s .
E a c h p h o t o g r a p h e r w a s given a 3 5 m m SLR, a 5 5 m m lens,
a tripod, a flash w i t h a long s y n c cord, and a filter to place o v e r
t h e flash t o simulate a t u n g s t e n light s o u r c e .
T h e i r r e a c t i o n s to t h e situation varied. S o m e c h o s e to ignore
t h e r o o m and c o n c e n t r a t e o n t h e model, while o t h e r s m a d e full
u s e of the space. T h e j o b d e m a n d e d quick, clear thinking
without the aid of fancy p r o p s . It called for good communi-
cation b e t w e e n t h e p h o t o g r a p h e r and model, a s n e c e s s a r y a
r e q u i r e m e n t as the e q u i p m e n t .
F r o m the m o d e l ' s point of view, it w a s an unusual e x e r c i s e :
to b e p h o t o g r a p h e d by six d i f f e r e n t people, o n e a f t e r the o t h e r
without a b r e a k . It w a s a totally n e w e x p e r i e n c e f o r Vicki, and
h e r r e a c t i o n s , a s well a s e a c h p h o t o g r a p h e r ' s t h o u g h t s on his
o r h e r work, a r e e x p r e s s e d on t h e following p a g e s .

T h e b a s i c e q u i p m e n t was a sync cord enabled the flash

Nikon FM2 camera with a
55mm /-2.8 lens. The camera
has a built-in exposure meter
and double-exposure capability.
T h e electronic flash was a Metz
CT-4, which automatically gives
correct exposure. The long
to be placed well away from
the camera if necessary-. The
four-extension tripod was a
sturdy Gizzo with a pan and tilt
head. The step-ladder was
available for use by
photographer or model.
THE AUTHOR
Ian B r a d s h a w , author of !}ro
Techniques of Creative
Photography, thought up the
idea of this assignment and
specified the conditions. Ian
was the first of the six
photographers to do the
assignment. This is just one of
the many thoughtful and
inspirational notions lan has
brought to photography through
this book. Ian's experience is
wide, but liis speciality is
editorial photography.
"I like to w o r k fast. T h i s probably s t e m s f r o m y e a r s as a n e w s
p h o t o g r a p h e r , but I find that if I k e e p moving it helps t o relax
m y s u b j e c t s and gives t h e m n o time to feel seif-conscious. T h e
first tiling that s t r u c k m e w h e n I s a w t h e r o o m w a s t h e size
of the windows. I am conscious of light and design in
p h o t o g r a p h s . I like clean, simple and direct pictures. It
s e e m e d t o m e that t h e m o s t natural thing to do w a s to u s e the
s t r o n g f r a m e of the window r e c e s s , just as in an old painting.
I put Vicki into t h e f r a m e , w h e r e s h e w a s perfectly balanced.
T h e p i c t u r e w a s s t r o n g l y graphic, with the black window-
f r a m e s within t h e main picture helping t o c r e a t e a symmetrical
p a t t e r n behind t h e model. I w a n t e d a slightly a g g r e s s i v e p o s e
a n d I angled the a r m s and legs to fill the f r a m e . I u s e d
1 0 0 0 A S A 3 M film."

L a r g e a r e a s of black, o f f s e t
by the window, create a strong
design that focuses the
viewer's attention on the
subject.

T h e m o d e l t u r n e d so that the
strong, warm afternoon
sunlight liit the front of her
body. Her direct gaze is
emphasized by the face being
turned just enough to catch the
light.

T h e r e i s a good u s e of
s p a c e , which adds to the
atmosphere. The grainy quality
of the film adds a feeling of
mystery, and the side-lighting
gives the picture a lonely
quality.
F r a m i n g w i t h i n a f r a m e was
made possible by the window
recess with the black window-
frame inside it. This graphic
effect draws the eye in to the
main subject — the model.

A w a r m p a t c h of s u n l i g h t on
the model's left cheek was used
for an exposure reading. The
grainy quality of the super-fast
film was used to add impact.

An a g g r e s s i v e s t a n c e not
only helped balance the picture,
but gave it a strong graphic
quality, with a clear separation
between the arms and body.
The model's direct gaze into
the lens creates the feeling of
challenge.

T h e a n g l e of v i e w was just
below waist level to give height
to the model, but it was not low
enough to distort the vertical
frame of the picture. This angle
also makes the legs look
longer.

V i c k i ' s v i e w : "Ian
communicates clearly. He went
straight to the window and
explained what he wanted. I
had to stretch my legs and arm
to fill the space, but the picture
is relaxed. We shot this
photograph in the first five
minutes of the session."
THE LANDSCAPE PHOTOGRAPHER
P a t r i c k T h u r s t o n specializes
in landscapes and travel
photography. He works mainly
outdoors and seldom uses
artificial light, natural light being
most important in his work. He
often spends days in a camper
waiting for the perfect dawn or
sunset. His pictures have
appeared in books and major
travel journals around the
world.

"I had not b e e n in a studio for y e a r s and found this e x e r c i s e a

g r e a t challenge. I aimed for simplicity and a s t r o n g image. T h e
s h o e s w e r e a happy accident. In a casual situation with casual
clothes, t h e high h e e l s s e e m e d t o o formal to m e . Vicki t o o k off
h e r s h o e s and w a s o n t h e point of discarding t h e m a l t o g e t h e r
w h e n I had t h e idea of using t h e m as a f r a m e . I a s k e d Vicki to
put h e r hair u p t o r e v e a l m o r e of h e r face and t o give a
s m o o t h e r line. I like t o b e mobile, s o I did not u s e the tripod,
p r e f e r r i n g t h e floor as a solid b a s e f o r m y c a m e r a . T h e film w a s
Fuji 4 0 0 to give m e t h e d e p t h of field I n e e d e d . I w a s also a w a r e
of a lot of blue in the p i c t u r e and positioned t h e model n e a r the
wall to t a k e a d v a n t a g e of t h e w a r m t h of the b r i c k s . "

T h e l i n e s of t h e window- hair shows off the cheekbones.

help lead the eye to the model's
face. The camera was
positioned near the glass, and
the strong but soft light through
frosted glass emphasizes her
facial features. The swept-'
A creative use of space
positioned the model well to the
left in the frame. Light falling
on the wall throws the head
into strong relief.

The shoes make an unusual The brick wall as a

f r a m e and were positioned to
focus the viewer's eye inward
and toward the model. Using
the shoes in this way also adds
depth.
b a c k g r o u n d adds warmth to
what would otherwise be an
extremely cold, blue
photograph. T h e warm shades
of the bricks reduce the
dominance of the blue shoes.
A good u s e of p e r s p e c t i v e
leads the eye immediately to
the model's face via shoes
and floor.
Model a n d l e n s are at the
same level, emphasizing her
direct eye contact with the
camera. Her pose is relaxed
with head on hands. The
hairstyle draws attention to
her cheekbones.
Vicki's v i e w : "Patrick adapted
quickly to what was obviously
an unusual environment for
him. He found the combination
of jeans and high heels
incompatible, but he seized the
opportunity of using the shoes
in an unusual way. They
became the principal ingredient
of the picture even though I
was not wearing them. Patrick
was a good communicator and it
was easy for me to know what
he wanted in the shot."
THE STILL-LIFE PHOTOGRAPHER
J u l i a n N i e m a n is a
commercial and advertising
photographer who specializes in
interiors and still-life. Most of
his work is carefully thought
out in advance and just as
carefully lit before he starts.
Although much of his work is
done on 35mm, he often uses
large-format cameras backed up
with big lighting setups.

" W h e n I w a s a s k e d t o do this a s s i g n m e n t 1 tried t o k e e p an

open mind and not have any p r e c o n c e i v e d ideas. I w a n t e d the
r o o m to inspire m e . At t h e back of m y mind I w a s conscious
of w i n d o w s and s i l h o u e t t e s , and w h e n I s a w t h e p a t t e r n s of
light in the w a r e h o u s e I t u r n e d to black and white r a t h e r than
to color. O n e of t h e things I w a s acutely a w a r e of w a s the line
of t h e curtains and t h e w a y the light fell, wrhich is w h y I did not
want the h u m a n figure to dominate. I felt it u n n e c e s s a r y t o
s h o w Vicki's face. I w a n t e d e v e r y v i e w e r to imagine their o w n
p e r s o n in that s p a c e . I u s e d Ilford X P 1 film."

D e s i g n is t h e k e y h e r e . The
angles of the roof girders
mirror the lines of the curtains
on the floor. The picture makes
good use of light-fall from the
windows and is well balanced,
with a strong focal point. This
time w e s e e the model's face.

T e x t u r e is an i m p o r t a n t
e l e m e n t in this picture, with
the floor and the wall taking up
a large part of the frame. The
smooth floor leads to the
rough-textured wall, providing a
strong space full of patterns.
T h e u s e of s p a c e here
creates the mood. The picture
is simple, yet strongly
designed, to keep the viewer's
attention. There is a haunting
quality about it.
The model's shape
complements the line of the
curtains, forming a still-life with
a strong design. The pose is
relaxed. The deliberate cutting-
off of the head provokes the
viewer into speculating who she
may be and adds an air of mystery.
Soft light flaring in from the
windows gives a bright, lively
feel to the picture, accentuating
the dark symmetrical drapes.
Vicki's v i e w : "Julian works
much more slowly than the
others and is obviously a great
thinker. He communicates well,
and 1 was able to relax into the
interior landscape he was
creating."
TAKE SIX CREATIVE PHOTOGRAPHERS
THE PORTRAIT PHOTOGRAPHER
J e n n i f e r B e e s t o n is an
editorial photographer working
mainly for magazines. She lias
developed a simple,
straightforward style in
portraiture and likes to observe
people rather than to pose
them. She works mainly with
35mm cameras and available
light wherever possible.
T h e r e l a x e d , n a t u r a l p o s e is Vicki's c r o s s e d a r m s ,
the key to the mood of the hugging herself, add a
picture. By both photographer comfortable warmth and
and model thinking of the room counteract the barren
as a home, rather than a atmosphere of the warehouse.
warehouse, the mood was
enhanced.
"I did not w a n t a p o s e d photograph, s o I a s k e d Vicki to t a k e
off h e r m a k e - u p , m e s s up h e r hair and w e a r t h e T - s h i r t and
j e a n s with n o s h o e s . I w a n t e d a casual approach to g e t the
p i c t u r e t o look natural and intimate, as if I had h a p p e n e d t o find
Vicki in reflective m o o d and u n a w a r e of t h e p h o t o g r a p h e r . I
tried to imagine that w e w e r e in Vicki's a p a r t m e n t , not a large,
i m p e r s o n a l w a r e h o u s e . We d e v e l o p e d that a t m o s p h e r e b y
moving a r o u n d until I found a place that s e e m e d suitable.
M a y b e I should h a v e m a d e m o r e of t h e r o o m , but it did not
s e e m r e l e v a n t at t h e time. 1 u s e d Fuji 100 film."
A p e n s i v e mood is caught in
this beautiful, relaxed study.
There is a good modeling on
the face from the soft side-
light, and the floor is thrown
out of focus so that it does not
detract from the subject.
No m a k e - u p a n d t o u s l e d
h a i r both add to the general
effect of observed informality.
With the out-of-focus wall
as a backdrop, the stark
warehouse does not intrude on
the picture. The color of the
wall adds warmth. The "at
home" feeling has been
enhanced by reducing the
background to a minimum.
The model's character
emerges best with a simple
approach. She is not
overshadowed by her
surroundings. The mood is
reflective, the natural light from
the windows soft and warm.
V i c k i ' s v i e w : "I found this
session the most difficult of all.
The result is beautiful and
relaxed, but at first Jennifer's
approach threw me off balance.
1 had to be natural and ignore
the lens, which does not come
easy to someone trained to be
acutely aware of a camera. I
had to force myself not to pose
and I had to concentrate hard to
relax."
THE EDITORIAL PHOTOGRAPHER
C l o s e c r o p p i n g prevents the
room intruding. This intimate
moment could have been
captured anywhere, at any-
time.
Soft c r o s s - l i g h t creates lovely-
modeling on the face and adds
to the tranquillity, while at the
same time giving just a hint of
mystery.
Soft f r a m i n g f o r t h e f a c e of softness in this atmospheric
was created by Vicki holding up photograph. T h e model's direct
her denim jacket. A soft-focus gaze into the camera creates
effect was produced by impact.
breathing on the lens and
shooting as the mist cleared.
The slightly grainy quality of
the fast film adds to the feeling

Vicki's v i e w : "Working with
Martyn was similar to working
with Ian Bradshaw. He was
fast, positive and decided right
away what he wanted to do;
another good communicator
who explained the picture he
wanted. It was a real strain on
M a r t y n G o d d a r d is a fast-
working editorial photographer
whose illustrative work is in
constant demand by magazines.
He also does much work for the
record industry and specializes
in automotive photography. His
pictures cover the whole
spectrum of photojournalism.
" T h i s w a s a limiting situation, and b e c a u s e of that I felt that the
picture should b e quick and direct. It w a s immediately obvious
that Vicki w a s an a c t r e s s , and I felt that 1 should take advan-
t a g e of that. So, with acting the k e y w o r d for m e h e r e , 1 w e n t
for a p i c t u r e with a s t r o n g f r a m e . Initially I ignored the r o o m ,
using the m o d e l ' s a r m s t o c r e a t e a f r a m e for h e r face. T h e r e
w a s a beautiful, soft cross-light, and I a s k e d h e r t o hold up the
blue denim jacket t o m a k e a f r a m e for t h e picture. I u s e d Fuji
400 film to t a k e a d v a n t a g e of t h e slightly grainy quality and
w o r k e d with the lens a p e r t u r e wide open to minimize the d e p t h
of field."
A b l a c k a n d w h i t e image was "froze" the face. The wall in
the original idea behind this the background creates the
shot. The model threw her "madonna" effect of this stark
head from side to side during a portrait by contrasting the
long, one-second exposure so rough texture of the bricks with
the hair had soft edges. A Hash the bleached-out skin tones.
lired during the exposure
my arms holding them over my
head, but knowing what he was
trying to achieve made it
easier."
THE ADVERTISING PHOTOGRAPHER
Nigel M a c i n t y r e works in
advertising and is at home with
large-format cameras. Most of
his photographs are shot with
large format cameras. He does
not even own a 35mm camera
or an exposure meter. He uses
Polaroid film to work out his
exposure readings. He uses
large amounts of electronic
flash, and often has two or
three assistants.

" T h i s , for m e , w a s totally out of t h e ordinary. T h e smallest

c a m e r a that I normally w o r k with is a 4 x 5-inch view c a m e r a .
I do a lot of m u l t i - e x p o s u r e w o r k in m y advertising assign-
m e n t s , and I like to play tricks with the c a m e r a and t h e light.
I seldom just shoot. M y p i c t u r e s a r e usually built up through
a s e r i e s of Polaroid t e s t s h o t s until I g e t what I want. In this
instance I u s e d the 3 5 m m c a m e r a like a plate c a m e r a , blacking
out the r o o m a s much as possible and opening t h e s h u t t e r while
t h e m o d e l m o v e d a r o u n d . I 'painted' h e r with light, following
h e r and firing the flash on an o p e n s e t t i n g t o c r e a t e a ghostly
s e n s e of m o v e m e n t within the f r a m e . I like to build up a s t o r y
on o n e f r a m e of film, leaving the v i e w e r to i n t e r p r e t it as h e or
s h e w a n t s to. T h e film w a s E k t a c h r o m e 6 4 . "

T h e s t o r y b u i l d s as the model
walks from left to right with the
photographer trailing her, firing
the flash at her back. T h e
camera shutter was open all the
time.

M o v i n g t h e light, as well as
the model and the camera, is a
technique that helps create a
mood or effect.

V i c k i ' s v i e w : "I found this
session difficult to understand,
since it obviously involved a
technical trick, and I could not
visualize the finished picture.
1 lowever, Nigel directed me
clearly and 1 imagined that I
was making a film. I therefore
did as I was told without ever
fully knowing what mood to
generate. 1 found it hard to feel
a part of this picture. "
As t h e m o d e l t u r n e d to the
camera at the end of her walk,
the flash was fired to illuminate
her face. Another print-
through. this time of the pillar,
adds to the ghostly feeling.
The curtains were whisked
a s i d e at the end of the
exposure to add print-through
and create a further air of
mystery within this ghostly
image.
THE BEST OF THE REST
M a n y i m a g e s w e r e p r o d u c e d by t h e p h o t o g r a p h e r s during the O p e n i n g a w i n d o w and
six hours. Several that w e r e not c h o s e n by t h e m as b e s t leaning out, Ian Bradshaw
e x a m p l e s n e v e r t h e l e s s illustrate t h e i m m e n s e r a n g e of pictured Vicki from the outside
possibilities for picture-taking w h e n tackled b y thinking as she peered out from an
adjoining window, proving that
p h o t o g r a p h e r s . A f u r t h e r selection is r e p r o d u c e d h e r e .
working within a room is no
W h e n a s k e d at t h e e n d of the day for h e r overriding im- great restriction on a thinking
p r e s s i o n s of t h e six, Vicki Michelle w a s quite clear on t h r e e photographer. This picture
points: T h e y all think clearly about what t h e y a r e doing. T h e used the maximum amount of
technical side s e e m s s o much s e c o n d n a t u r e t o t h e m that I w a s daylight. T h e faint reflection of
o f t e n u n a w a r e of t h e c a m e r a being p r e s e n t at all. Also, t h e y the model's face in the glass
a r e all good c o m m u n i c a t o r s . T h e y can e x p r e s s t h e m s e l v e s adds balance to the portrait.
clearly and positively, and t h e y a r e good at making people
relax. Finally, t h e y s e e m e d — e x c e p t f o r Nigel — t o want t o
simplify things all the time, r a t h e r than d e p e n d on technical
trickery. I think t h e s e c r e t of their art lay in this approach.

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A w a r m cozy f e e l i n g was Creativity through

added to the bare room by the
curtains. Jennifer Beeston
found a quiet corner and used
the soft window light, together
with a relaxed pose, to convey
a feeling of a home rather than
an empty room.
m o v e m e n t was the aim here
as Martyn Goddard asked Vicki
to jump in front of the rough
brick wall. Black and white film,
and the use of simple flash to
the left of the camera created a
different "frozen" effect. The
strong shadow in the picture
adds impact.
In his w a n d e r i n g s around the
warehouse room Julian Nieman
came across a piece of clear
glass in the middle of a window
of frosted panes. Using black
and white film and stopping the
lens down to get a large depth
of field, he held the flash to one
side of the camera. The overall
effect was to convey the
industrial nature of the building
in a well-composed portrait.
T h e u s e of s h a d o w . Ian
w/gmty
Bradshaw "kills" all daylight in
the room and creates a night
"alley" feel with a simple,
strong side-light. T h e flash was
placed on the step-ladder to the
left of the model with an orange
filter over it to give the
impression of a light from a
light bulb. The model was
positioned against the wall, so
the giant shadow she cast
helped give the impression of
nighttime. The sharp angle of
the light gives heavy texture
and contrast to the picture.
PORTRAITURE
W h e n you t a k e p i c t u r e s of people, t e c h n i q u e is o f t e n
s e c o n d a r y to a m o r e important a t t r i b u t e — the ability to
c o m m u n i c a t e and g e t on well with y o u r s u b j e c t s . Good com-
munication and r a p p o r t s h o w in a portrait, especially in the
s u b j e c t ' s e y e s . W h e t h e r you a r e taking p i c t u r e s of a formal,
p o s e d situation o r an informal gathering of family and friends,
t h e s a m e guidelines apply.
T h e r e a r e different w a y s of achieving r a p p o r t . I always talk
a lot t o m y s u b j e c t s and, m o r e important, I g e t t h e m t o talk t o
m e . 1 listen t o w h a t t h e y h a v e t o say. I ask t h e m q u e s t i o n s
about t h e m s e l v e s — q u e s t i o n s that will help r e v e a l c h a r a c t e r
and personality. O t h e r p h o t o g r a p h e r s do not talk to their sub-
j e c t s a n d r e l y o n o b s e r v i n g t h e m o m e n t w h e n they " s e e " the
picture. T h i s can m a k e the s u b j e c t feel u n e a s y .
T h e p r o b l e m s facing t h e portrait p h o t o g r a p h e r a r e varied.
If you are taking p i c t u r e s of y o u r family, the location m a y be
uninspiring. If y o u r subject is a well-known personality, the
difficulty will b e getting e n o u g h of his o r h e r time. W h a t e v e r
t h e c i r c u m s t a n c e s , y o u r subject may e n d u r e r a t h e r than e n j o y
being p h o t o g r a p h e d . P e o p l e f r e q u e n t l y say that t h e y
" p h o t o g r a p h b a d l y . " T h i s is o f t e n b e c a u s e p h o t o g r a p h e r s do
not establish a good relationship with them.
T h e formal a p p r o a c h to p o r t r a i t u r e is d e m o n s t r a t e d first in
t w o p i c t u r e s of British a r i s t o c r a t s . T h e p i c t u r e opposite — of
Maria Walsh, s e c r e t a r y of t h e W e s t C a r b e r r y Hunt in Ireland
— is also carefully p o s e d .

T h e D u k e of R i c h m o n d is
obviously at ease standing by a
window in his London home.
The archway strengthens the
framing of the picture and adds
to the composition. Daylight
was the only light necessary.
Sitting or leaning poses help
relax your subjects if they are
uneasy.

T h e D u k e of R u t l a n d ' s
l i f e s t y l e is apparent in this
portrait taken in his stately
home. The strong composition
adds impact to the picture.
The depth of the room
to the right is balanced by the
lamp and painting on the left.
Care was taken that the
subject's head did not overlap
the corner of the alcove or the
painting. Soft window light was
the only illumination.
K •

T h e black door f r a m e s the

f i g u r e within the main frame of
the picture. Normally, black
clothes against a black door
would not be a good idea, but
here the image is held together
by the patches of white. The
lack of separation between
body and door adds a slight
sense of mystery.

T h e s u b j e c t n e e d not
d o m i n a t e for a portrait to be
successful. Maria is, however,
the main ingredient, and
several compositional elements
lead your eye to her. These
include the dark shape of the
doorway and the slope of the
road. An additional element is
the discarded pair of boots.

F o r t u n a t e l y , a b l a c k dog sat
down in exactly the right spot
to balance all the other
components in this picture. He
is an almost incongruous figure,
but his ears, llared against the
wall as he growls at the
photographer, add an
interesting shape.
PORTRAITURE

A FRAME WITHIN A FRAME

A s with p o r t r a i t s of old, t h e f r a m i n g of a p h o t o g r a p h c a n en- T h e s t a r t i n g point was a
h a n c e o r ruin a picture. Using a natural f r a m e within the main photo of actress Fiona Fullerton
f r a m e can m a k e an ordinary' p i c t u r e much m o r e interesting. for a weekend magazine (left).
H e r e is a n o t h e r m e t h o d of f r a m i n g that t r a n s f o r m s an ordinary Fiona was soon to appear in a
new James Bond film. The
portrait into a p i c t u r e of o u t s t a n d i n g b e a u t y .
problem was how best to
illustrate the transition of her
image from "child star" to
sophisticated movie actress
within the confines of both the
studio and Fiona's hectic
A ' fe- schedule. An interesting idea of
mine produced the end result. I
used an antique mirror as a
rn frame within the frame and
clearly portrayed the actress's
new image.

T h e f i n i s h e d p i c t u r e (right),
with the desired effect, was
used on the cover of the
magazine. The mirror draws
your eye to her lovely face and
adds impact to what otherwise
might have been an ordinary
portrait.

T h e f r a m e w a s c r e a t e d by-
placing the mirror where Fiona
had been sitting. Light was
directed on the studio wall
behind the mirror. This
reflected back on to Fiona's
face in her new position facing
away from the camera.
T h e m i r r o r w a s a n g l e d so
that the camera could s e e Fiona
through the mirror with the
image centered. A white
background positioned
behind her hid the studio
lights and equipment
from view.
PORTRAITURE

THE FAMOUS FACE

P h o t o g r a p h i n g f a m o u s p e o p l e is not all fun. T h e chief p r o b l e m
f o r t h e p h o t o g r a p h e r is to fit into t h e busy s c h e d u l e of t h e
personality or star. T h i s e x a m p l e , of p h o t o g r a p h i n g a well-
k n o w n a c t r e s s , s h o w s h o w important thinking a h e a d can b e
and also highlights many important a s p e c t s of s u c c e s s f u l
portraiture.
W h e n I w a s assigned t o p h o t o g r a p h Ali M c G r a w , I w e n t to
g r e a t l e n g t h s to "buy t i m e . " I a s k e d if I could m e e t Ali at least
a day b e f o r e t h e shoot. I w e n t down t o t h e film set and ex-
plained o v e r lunch that, although I appreciated h e r tight
schedule, I w a n t e d a s m u c h of h e r time as w a s possible s o that
s h e would have a c h a n c e t o relax in front of m y c a m e r a .
T h e trouble t a k e n paid off; t h e s h o o t ended in a t w o - h o u r
session, and the p h o t o g r a p h s all had a r e l a x e d quality. W e
a g r e e d to s h o o t without a c h a n g e of clothes f o r Ali, but the
location m a d e up for that with its variety of backgrounds.

T h e s u b j e c t is v e r y r e l a x e d ,
and is using one of the omate
columns of the conservatory as
a leaning post. T h e location was
chosen with the conservatory' in
mind as a retreat in case of
inclement weather.

F a c i a l c o n t o u r s are mirrored
by the shape of the ornamental
urn. Again, her pose is relaxed
and her gaze direct. The
photograph is nicely balanced
by the flowering shrub which
also adds color.

T h e d a r k g r e e n f o l i a g e in L o o k i n g in f r o m t h e o u t s i d e
each of these pictures sets off produced a totally different
Ali's blue denim clothing effect. The window sill gives Ali
beautifully. The upright shot something to lean on, and the
has an unusually high camera glass acts as a built-in soft-
angle, accentuated through the focus filter. The window frame
use of a wide-angle lens. The gives the picture a graphic
horizontal picture above has a quality and helps focus your
lower camera angle. A longer attention on the subject. This
lens was used to make the photograph has something of an
subject stand out against the "at home" feel about it,
green backdrop. achieved by careful location.
FOR THE FAMILY ALBUM/1
T a k i n g p i c t u r e s of family o r f r i e n d s is a s t a n d a r d a s s i g n m e n t
f o r any p h o t o g r a p h e r , a m a t e u r or professional. The
p h o t o g r a p h s m a y b e s n a p s h o t s f o r the family album o r p i c t u r e s
t o c o m m e m o r a t e a special occasion, s u c h as a birthday o r a
r e t i r e m e n t . H o w d o e s t h e c r e a t i v e p h o t o g r a p h e r g e t the b e s t
informal portrait?
Couples are a common subject. They may be your parents,
o r friends o r total s t r a n g e r s . T w o people p r e s e n t special
p r o b l e m s for a p h o t o g r a p h e r . H o w d o you place the s u b j e c t s
in a natural and c o m p l e m e n t a r y position? Location, too, m a y
p r e s e n t p r o b l e m s . H o u s e s a n d g a r d e n s can b o t h b e limiting
and a r e o f t e n far f r o m photogenic.
Posing is one of t h e m o s t difficult a s p e c t s of p o r t r a i t u r e t o
m a s t e r . G e t t i n g p e o p l e t o relax is an art. M a n y people dislike
being p h o t o g r a p h e d and " f r e e z e " w h e n c o n f r o n t e d by a The subjects are an elderly
c a m e r a . T h e r e f o r e , you m u s t t r y f r o m the o u t s e t t o put your c o u p l e . The "at home" setting
s u b j e c t s at e a s e . Standing is not relaxing for m o s t s u b j e c t s . is a small garden with little
Leaning o r sitting is much b e t t e r . K e e p talking to t h e p e o p l e obvious color, a broken-down
you a r e p h o t o g r a p h i n g — communication is most important. greenhouse and two garden
Be careful with lighting. Daylight is a good choice. H o w e v e r , chairs. A 55mm lens is on the
direct sunlight can cause high c o n t r a s t . R e m e m b e r that film camera.
c a n n o t r e c o r d a s g r e a t a r a n g e of subject b r i g h t n e s s a s the
naked e y e can s e e . Sunlight can also m a k e p e o p l e squint and
l e a d s t o h a r s h s h a d o w s in e y e s o c k e t s . Film instructions u s e d
to r e a d , "Stand with the sun o v e r your s h o u l d e r , " but t h e s e
simple w o r d s of advice h a v e ruined m a n y pictures.
T h e informal portrait m a y b e a familiar situation for a
p h o t o g r a p h e r , but t h i s should not m a k e you c a r e l e s s . T h e r e
a r e just as m a n y pitfalls a s with an a s s i g n m e n t into u n k n o w n
t e r r i t o r y . But if you S T O P ! and T H I N K ! b e f o r e you s t a r t , and
d e v e l o p t h e situation in a logical way, you can a c h i e v e a
m e m o r a b l e portrait in t h e e n d . H e r e is a good e x a m p l e .

A p l a n of t h e s i t e shows the
working area: a small lawn, a
few shrubs, some flowers in
the center bed, the chairs and
greenhouse, and the direction of
the sun. These are the
ingredients the photographer
had to work with.

A " f i r s t t h o u g h t s " s h o t with
the approach described above
does not produce a good
photograph. T h e couple is small
in the frame and squinting into
the sun. No attempt has been
made to get them to relax. T h e
N /
P o s i t i o n i n g t h e c o u p l e is the
first step. Many photographers
would pick the one clear area
where the sun is shining — the
traditional "sun over the
shoulder" approach. In this
case, it is not the best way to
tackle the subject.
STOP! THINK:
Change places
photographer has not closed in
on his subject and there is too
much clutter in the picture.
This is an unthinking and
unimaginative approach. T h e
photograph records the scene
and little else.
W h a t h a p p e n s if y o u " b r e a k
t h e r u l e s " and photographer
and subjects change places?
With the camera now shooting
toward the sun, you must take
care to avoid flare. Shading the
lens with your hand or using a
lcnshood usually prevents this.
STOP! THINK!
Make the sun
w o r k for y o u
FOR THE FAMILY ALBUM/2

O f T^H

•> yfiW
STOP! THINK!
W P ^ i m Add s o m e p r o p s

Make t h e sun w o r k for you The creative photographer

rather than against you. The is n e v e r t o t a l l y s a t i s f i e d .
subjects can now open their The two garden chairs that
eyes fully and be pleasantly were lurking on the edge of the
back-lit by the strong sunlight. picture before might improve
T h e background, instead of the photograph even further.
being flat, has a dappled three- Be careful, however, that they
dimensional look. The do not create different
composition is still messy, problems.
however, with the chairs
intruding on the right of the
frame.

STOP! THINK!
Turn the camera

Simply t u r n i n g t h e c a m e r a
s l i g h t l y transforms the
picture. By shooting upright, all
extraneous matter disappears.
The couple have relaxed as the
session has progressed, and
they are well framed here by
flowers and shrubs. The
lighting is good, so the picture
has color and depth. But do not
be content to stop at this point.
 G r e a t e r i n f o r m a l i t y is
c r e a t e d with one of the chairs
reversed and overlapping the
other. T h e advantage of tliis
arrangement is that the couple
are close to each other and that
they have to turn to look at the
camera. Both actions clearly
relax them. So far, however, STOP! THINK!
the photographer has thought T a k e a n o t h e r look
only about the subjects, not the
camera angle.

People are usually more

r e l a x e d s i t t i n g or l e a n i n g .
but here adding the two chairs
has made the subjects as
awkward and formal as they
were in the first picture of the
series. They simply placed the
chairs side by side and sat
down facing the camera.

P o s i t i o n i n g t h e s u b j e c t s at
d i f f e r e n t l e v e l s makes the
picture more informal. By
getting rid of one chair and
turning the other sideways, one
subject is sitting and the other
has something to lean on. Even
so, the picture still lacks impact.
There are few options in this
situation, but maybe more could
be done with the chairs.
FOR THE FAMILY ALBUM/3

Bv l o w e r i n g h i s c a m e r a
a n g l e , the photographer can
use the flower bed as a
foreground frame for the
picture. This way, he
maximizes the color of this
extremely limited situation and
adds depth to the photograph at
the same time. There is no
reason why pictures must be
taken from eye level.

The foreground now adds photograph but the colorful

i n t e r e s t . The composition,
pose, lighting and camera angle
have all been improved. One
final adjustment remains:
moving the chairs closer to the
flower bed and turning the
camera a bit more to make the
picture more compact. The
couple now dominates the
elements stay. So, despite an
unpromising location, with clear
thinking and a little imagination,
the photographer has produced
a good strong image he can be
proud of. Both the horizontal
and the vertical versions are
equally successful portraits for
the family album.
PHOTOGRAPHING CHILDREN
T h e b e s t p i c t u r e s of children a r e o f t e n t a k e n w h e n the s u b j e c t s
a r e u n a w a r e of the c a m e r a . S o m e children like posing, but the
p r i c e l e s s m o m e n t s of a g r o w i n g child a r e usually elusive. T h e
p h o t o g r a p h e r h a s to b e b o t h o b s e r v a n t and patient. T o this end,
a m o d e r a t e t e l e p h o t o lens k e e p s you discreetly at a distance.
Anticipation is a useful attribute for a p h o t o g r a p h e r , especially
when taking pictures of children. T h e b e s t p h o t o g r a p h s a r e the
result of spotting a situation, careful positioning in r e a d i n e s s , and
quick reactions w h e n it eventually h a p p e n s .
For this example, 1 w a s driving down the main s t r e e t in an Irish
village. I had just p a s s e d a y o u n g boy walking his puppy w h e n
I noticed a yellow and g r e e n fire h y d r a n t . All the possibilities
of w h a t might h a p p e n w h e n t h e p u p p y r e a c h e d the h y d r a n t
flashed t h r o u g h m y mind. I hastily p a r k e d t h e c a r and waited.

Another potential T h e m e e t i n g of the two as the

i n g r e d i e n t was a much larger
dog lying peacefully outside his
house on the same side of the
street as the boy and his
puppy. Would anything develop
from this?
older dog went to investigate
the puppy passed uneventfully.
The puppy pulled against his
leash, but the potential for an
outstanding picture didn't
materialize. Eventually the
bigger dog lost interest and
returned to lus spot.
A l o n e fire h y d r a n t in the Anticipation and patience
main street offered a great paid off in the end. The puppy
photo opportunity. In a stopped to investigate the fire
situation such as this there is hydrant and the boy pulled on
no time to waste and no second the leash. All the ingredients
chance. Sometimes nothing came together in a humorous,
happens, but you must prepare well-composed picture.
yourself in case it does. In this Although the puppy is well
instance anticipation and away from the boy, the leash
patience paid off. The graphically connects them and
photographer waited guides your attention to the
unobtrusively on the opposite hydrant. The puppy's head
side of the road. turned and that was the
moment to shoot.

m m w m
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m M m

m S & S w
W m m
MOTHER AND BABY/1
T h o u s a n d s and t h o u s a n d s of baby p i c t u r e s a r e t a k e n e v e r y
w e e k . T h e birth and g r o w t h of a cliild a r e , a f t e r all, s o m e of the
m o s t m e m o r a b l e e v e n t s of a p a r e n t ' s lifetime. M a n y of the
m o m e n t s you would like to c a p t u r e cannot b e r e - s h o t , s o it is
w o r t h s p e n d i n g time and m o n e y (on m a n y rolls of film) in an
a t t e m p t t o t a k e good pictures.
Babies can b e photogenic, but people o f t e n w o n d e r w h y the
p i c t u r e that looks s o good through t h e viewfinder t u r n s out s o
badly. Planning, thought and considerable patience are all
n e c e s s a r y to get t h e b e s t out of w h a t is usually a difficult
situation.
First, babies a r e o f t e n p h o t o g r a p h e d at the w r o n g time. It
is exciting to t a k e a p i c t u r e as soon a f t e r the birth as possible,
but a b a b y ' s e y e s cannot focus at that stage. T h e r e f o r e a
p h o t o g r a p h t a k e n t h e n should b e c o n s i d e r e d as o n e just f o r the
r e c o r d . T h e b e s t t i m e is f r o m t h r e e m o n t h s onward, w h e n the
baby can t a k e notice of what is going on and h a s a w i d e r r a n g e
of e x p r e s s i o n s .
S e c o n d , baby p i c t u r e s a r e usually t a k e n in the h o m e , and
this location can b e a n i g h t m a r e for the p h o t o g r a p h e r . H o m e s
are invariably c l u t t e r e d , and t h e r e are f a c t o r s such a s un-
flattering light and color to c o n t e n d with. Always simplify y o u r
p i c t u r e s s o u n w a n t e d e l e m e n t s d o not intrude.
H e r e and o n the following p a g e s I have illustrated the
p r o b l e m s a p h o t o g r a p h e r f a c e s in a c l u t t e r e d , dimly lit apart-
m e n t , and how\ with careful t h o u g h t , it is possible to t a k e a S t r a i g h t flash d e a d e n s t h i s
p i c t u r e . There is no
good picture of m o t h e r and baby. You m a y p r e f e r a different
atmosphere, and mother and
shot f r o m t h e one I got in t h e end, but with a s t e p - b y - s t e p baby are awkward and
m e t h o d you can e x p l o r e a h u g e variety of possibilities. apprehensive. No attempt was
made to frame the picture, and
it seems as if the mother has a
lamp "growing" out of her head.

A v i e w of t h e a p a r t m e n t photographer is taking a "first A p l a n of t h e r o o m shows

shows a room full of furniture
with little clear wall space. To
make matters worse, builders
had erected scaffolding at the
windows. Here the
thoughts" picture. He uses
available light only and a tripod
to keep the camera steady.
A standard lens is on the
camera.
that all the windows are on one
There are some movable
props, such as a basket of dried
flowers, which will play an
important part in the final picture.
N a t u r a l w i n d o w light
softens the image. Mother and
baby are still on the sofa, but
the lamp has been moved away
from the mother's head. But
neither subject appears
relaxed, and the large areas of
white dress detract from
everything else in the picture.

STOP! THINK!
G o in c l o s e r

M o t h e r s t a n d i n g by t h e
f i r e p l a c e improves the
situation only slightly (left). The
heavy black painting in the
background is now the
distracting feature. Also, the
mantelpiece has a lot of small
objects on it. making your eyes
wander away from the focal
point of the picture. The side
light has. however, improved
the lighting.

Bringing the subjects

t o g e t h e r (babies tend to pull
away) meant that the picture
acquired a cohesion (right) that
it lacked before. But, held to
the right, the baby blocks the
light to her mother's face, and
the problems of the background
remain. It is time to STOP! and
THINK!
MOTHER AND BABY/2
Going in close with a
m o b i l e f o r e g r o u n d is the key
to the next stage. A busy
background distracts the eye
from the subjects, so close in
on the faces. There is little
room to maneuver in the
apartment, but there are
movable props. Pot plants and a
basket of dried flowers add
color and texture and are easy
to position.

S o f t e n t h e i m a g e by seating
the mother closer to the
window. The light is brighter
and gives good modeling on the
faces. The added contrast
reduces the background to a
deep, unobtrusive shadow. The
plant in the foreground softens
the picture and breaks up the
white expanse of the mother's
dress. This would be less of a
problem in a bright, white-
walled room, but with so much
contrast here a large patch of
white is not a good idea. As it
is, the whole room is conducive
to a low-key photograph, with
large areas of shadow and little
bright light.
C r o p p i n g t i g h t l y by going in
close with the standard lens
solves the problem of the
dress. The heads now dominate
the picture. T h e background is
minimized and there is good,
strong side-lighting on the
baby's face. T h e mother has
turned away slightly from the
window, however, putting half
her face in shadow. But the
baby is now interested in the
photographer. Although the
light is not good on the mother,
this might be the time to go in
even closer.

STOP! THINK!
Back a w a y
and wait

Coming in closer m e a n s
c o n c e n t r a t i n g on t h e baby.
The viewer is still aware of the
mother since part of her face is
visible. I Unfortunately, by going
in close, a large patch of white
dress to the left of the picture
is distracting the eye. The
photograph on the opposite
page may, therefore, be
preferred at this stage. So,
back off and STOP! and
THINK! again.
MOTHER AND BABY/3

T h e m o t h e r is r e p o s i t i o n e d
by standing her against the
window as she holds the baby
to her. With the baby on her
left again, light falls perfectly on
both of them. By turning away
from the window slightly, the
mother has rcduccd the area of
dress visible. Backing off
means that the photographer
balances the white area with
large areas of deep shadow.
Also, as the photographer
retreats, the baby becomes
interested in something outside
the window. This, together
with the beautiful, soft light,
produces a relaxed study of
mother and babv.

y*-
- J *
 You m u s t h a v e t h e p a t i e n c e
to wait for the right moment,
having set the scene. Hv now
the baby was tired and irritable,
but there was one trick left —
the rattle. Waved above the
camera, it produced a spark of
interest, and. with both mother
and child looking up, the light
falling 011 their faces was
perfect.

r Was another picture

possible? The picture opposite
is more than satisfactory, but
what would be the effect of
using fast film in this dimly lit
room? In fact, 1000 ASA 3M
slide film gave a whole new
dimension to the situation. A
faster shutter speed was
possible, which helped with a
wriggling subject, and meant
that the photographer could
work away from the window.
The grainy quality gave an
almost "antique" look to the
picture. The mobile props now
came into play. The
photographer built a small set
next to the only piece of clear
wall, with the dried flowers
providing color at the bottom
and the plant framing the
picture at the top. The walls
had an off-white finish, which
absorbs light and gives a
parchment effect, emphasized
by fast film.

As t h e m o t h e r p l a y e d w i t h
h e r d a u g h t e r at the end of the
session and made a fuss of her,
lifting her in the air, the ever-
alert, thinking photographer got
one more shot.
FUN AND GAMES

T h e l e a p i n g f o u n t a i n s at
Walt Disney's EPCOT Center
are a source of delight for
tourists and photographers
alike. In the Florida heat many
visitors take advantage of a
quick cooling shower, and this
young boy is no exception.
What is the best way to capture
his enjoyment?

T h e a n g l e h e r e is t o o d i r e c t .
The sun is directly behind
the photographer so the picture
is flat, and the boy's arms cover
his face. T h e water is totally
"frozen" into droplets.

By m o v i n g t o t h e s i d e and
using the same fast shutter
speed, the thinking
photographer gets it just right.
The water seems to move
across the frame. The face is
clear and in profile, well lit by
the high sun. Cropping tight
and waiting for the boy to draw
in his arms and throw back his
head has produced a lively
photograph. Deep shadow in
the background emphasizes the
main subject well.
WEDDINGS
W e d d i n g p i c t u r e s n e e d not consist only of the predictable
p o s e s — t h e formal g r o u p outside t h e church o r the ritual
cutting of t h e cake. O f t e n t h e s e p i c t u r e s lack spontaneity,
which is not always t h e p h o t o g r a p h e r ' s fault. By biding your
time, h o w e v e r , and using a little imagination, you can c a p t u r e
s o m e truly m e m o r a b l e m o m e n t s creatively.
A p h o t o g r a p h e r can b e f a c e d with m a n y p r o b l e m s at a w e d -
ding. H e h a s a limited a m o u n t of time, which p u t s him u n d e r
p r e s s u r e . H e o f t e n has to c o m p e t e for s p a c e w i t h family and
f r i e n d s w h o also w a n t to t a k e pictures.
M a n y p h o t o g r a p h e r s specialize in w e d d i n g s but, e v e n if you
a r e not o n e of t h e m , you m a y still find yourself a s k e d t o d o t h e
job. T h e d e m a n d s o n you will b e g r e a t to g e t traditional, p o s e d
s h o t s a s well a s t h e informal, intimate m o m e n t s .
So what should you do if y o u ' r e a s k e d t o p h o t o g r a p h a w e d -
ding? Plan as much a s possible, but b e p r e p a r e d f o r e v e r y t h i n g
t o g o w r o n g and e x p e c t to improvise. T h e b e s t p i c t u r e s are not
t a k e n at the church, s o b e r e a d y f o r t h a t . T a k e the r e q u i r e d
g r o u p s h o t s b u t look e l s e w h e r e for the g r e a t p h o t o g r a p h s .
Work quickly and s h o o t a lot of film. P e o p l e will g e t in t h e way,
a n d the special m o m e n t s will b e all t o o fleeting. R e m e m b e r ,
t h e occasion cannot b e r e p e a t e d and the p r o c e e d i n g s cannot
wait f o r you.
It is a good idea t o b r i n g a flashgun, f o r although m o s t of the
action h a p p e n s outside, t h e r e are always t i m e s in t h e church,
if allowed, a n d in t h e c a r w h e n reflections can b e eliminated
w i t h a flash. .Always position t h e flash at an angle t o the glass,
n e v e r h e a d - o n . Also, a combination of daylight and flash
s o f t e n s h a r s h s h a d o w s and p r o v i d e s definition in the
f o r e g r o u n d , revealing the s h a p e and t o n e of objects.

T h e first o p p o r t u n i t y to
photograph bride and
g r o o m is often as they walk
down the aisle. It is of
necessity a straightforward
flash shot. The usual angle
gives a predictable picture.

T a k e the couple by
s u r p r i s e , in this instance while
the official photographer fiddles
with his equipment. Following
them outside, and using flash to
fill in the shadows, produces a
relaxed picture, with bride and
groom nicely framed by the
church door.
U n f l a t t e r i n g light i s o f t e n a
p r o b l e m outside the church,
especially since many weddings
take place around midday. You
can use till flash to soften the
shadows, but such formal group
shots although an adequate
record of the occasion may still
be disappointing. Here the light
is harsh and emphasizes some
unfortunate details, namely the
ill-fitting clothes rented for the
occasion.

STOP! THINK!
W a i t f o r a b e t t e r location

U n w a n t e d r e f l e c t i o n s in car
windows can often be
eliminated only by using a flash.
As the couple leaves the
church, there is time for a quick
shot, improved by opening the
car door and, still with a flash,
capturing the happy bride from
a low angle. The best
opportunities for good wedding
pictures, however, are still to
come.
RELAXED TECHNIQUES

— >
T h e r e c e p t i o n is a r e l a x e d
a f f a i r and therefore the best
place for informal pictures.
Once tiie speeches and official
presentations are over, take
time to look for and capture
more intimate moments.

The standard "kiss the
b r i d e " p h o t o g r a p h often
appears contrived as the guests
look on, but the quiet moment
shown here seems much more
intimate. With the aid of a
telephoto lens to avoid intruding
upon a private moment, the
photographer captures the
bride and groom alone for a few
minutes, unaware of the
camera. The couple is nicely
framed by foliage, and the
happiness of the occasion is
captured perfectly.

U s i n g p r o p s — wine glasses
in this instance — serves two
purposes. It relaxes the hands
(subjects often do not know
what to do with them,
especially if they feel self-
conscious), and by placing the
groom's arm across his suit,
any untidiness is hidden.
Soft l i g h t i n g flatters t h e
b r i d e in this portrait and was
achieved by positioning her
under a tree. (Her bouquet was
made of silk flowers and
therefore remained "fresh"
throughout the day.)
STOP! THINK!
Look f o r t h e
unexpected
The bride's parents with
t h e i r d a u g h t e r is another
standard wedding picture, and
the reception again provided a
relaxed setting for this photo. It
is not necessary' to show the
group full-length.
INFORMAL AND CANDID
Capture intimate moments
by keeping back from the
action. While the bride was
circulating among her guests,
she stopped to chat with her
mother and other relatives,
unaware of the photographer.

O n e for the family album,

this proves that photographers
can sometimes make good
subjects themselves. A good,
STOP! THINK! steady camera position is
Keep back from shown here as a guest tries her
the action hand at a snapshot.

Be p r e p a r e d for h u m o r o u s
i n c i d e n t s , such as a young
guest making off with mother's
hat. The tail of the tuxedo in
the background unmistakably
says "wedding." A fast shutter
speed froze the action here,
and rapid focusing was essential
to capture the scene in time.
Planning ahead should get
you b e h i n d t h e s c e n e s on
the wedding day. Ask the
bride's permission to take
pictures before the ceremony.
This way you can get the full
story of the day's events on
film.
First we s e e the finishing
touches at the hairdresser's in
the early morning. Shooting
into the light at the salon
produces an unusual and candid
shot of the hairdresser in
action. A standard view in the
mirror is enhanced by the
bride's concentration.
Finally, in the last few
minutes as she waits for the car
to take her to the church, the
bride is photographed through
the open doorway of her
parents' kitchen. Pictures such
as these can be taken only with
the family's consent, but they
make possible a detailed "day in
the life of " s t o r y to fill
page after page of the family-
album.
THE PHOTO ESSAY
Telling a s t o r y in p i c t u r e s is fun, as well as an interesting .Setting t h e s c e n e is the first
challenge for the p h o t o g r a p h e r . T h e p h o t o e s s a y is o f t e n u s e d step in the photo essay. It was
in m a g a z i n e s and b o o k s . 6 a.m. at the racecourse and a
T h e s e r i e s of p i c t u r e s m u s t b e varied enough to s h o w all heavy mist hung over the
scene. Stall holders and gypsies
a s p e c t s of the s u b j e c t , s o you will n e e d to give it a lot of
had already arrived to stake
thought b e f o r e h a n d . B u t this d o e s not m e a n you should ignore their claims to areas in the
s t r o n g , single i m a g e s : o n e picture can b e t h e c e n t r a l point for center of activity. Despite the
all t h e o t h e r s . Also, b e o n the lookout f o r t h e unusual. mist, the scene-setting picture
T o s h o w you h o w to compile a p h o t o e s s a y , I chose a big had to be taken in the hope that
e v e n t in Britain's h o r s e - r a c i n g c a l e n d a r — D e r b y Day. T h i s the weather might clear later.
g r e a t occasion is not only for racing e n t h u s i a s t s but for t h e (It didn't!) This picture gives a
public in general, w h o m a k e a d a y of it, enjoying the m a n y stalls great feeling of anticipation and
establishes scale. Had the
and s i d e - s h o w s .
photographer been any farther
You m u s t have a plan of campaign b e f o r e you begin. In this back, the grandstand would
instance, I k n e w it would b e physically impossible to c o v e r t h e have vanished into the mist.
whole of E p s o m D o w n s and an e n t i r e "day at t h e r a c e s . " I
t h e r e f o r e decided t o c o n c e n t r a t e on t h e big r a c e in t h e middle
of the a f t e r n o o n , and m a k e this t h e central t h e m e of t h e p h o t o
e s s a y . T h e r e w a s no point trying to t a k e p i c t u r e s b y t h e win-
ning p o s t : p a s s e s w e r e n e e d e d b y accredited p r e s s
p h o t o g r a p h e r s and t h e r e would b e t o o many people at the rails
t o g e t a clear view. A favorite v a n t a g e point along t h e c o u r s e
is w h e r e the h o r s e s s w e e p d o w n into t h e final straight. I
decided t o t a k e m y main picture f r o m h e r e , s o I planned the
r e s t of t h e day with a view to being in that spot in time f o r the
race.
T o avoid h e a v y traffic and to catch early-morning activity at
t h e c o u r s e , I arrived b e f o r e 6 a.m. and looked for a s c e n e -
s e t t i n g picture to open t h e e s s a y . Unfortunately, t h e r e w a s a
h e a v y mist, which lasted all day. s o an overall view w a s not
possible. I had t o s e t t l e for a closer, g e n e r a l view of the
c a m p e r s and stalls, with the g r a n d s t a n d looming eerily t h r o u g h
the mist in t h e background.
W h e n c o v e r i n g an occasion such a s this, you m u s t b e
p r e p a r e d to improvise and c o m p r o m i s e . E v e n t s g o ahead d e s -
pite the v a g u a r i e s of the w e a t h e r . So, making the m o s t of it,
I s t a r t e d to r e c o r d t h e early arrivals, t h e c r o w d s a s they built
up, the fairground and all its c h a r a c t e r s . I did not f o r g e t the
bookmakers. T h e e a r l y a r r i v a l of s o m e
You can m a k e p h o t o e s s a y s of many varied e v e n t s : a special r a c e - g o e r s creates a great
occasion of a n y kind, a day trip, o r a visit to weird and w o n d e r - sense of expectancy. For many
ful places. T h e s a m e rules apply w h a t e v e r you a r e shooting: people, Derby Day begins with
a picnic breakfast at the course.
plan well, g e t t h e r e early, s t a y late, b e p r e p a r e d t o improvise,
Visitors bring all the equipment
k e e p your e y e s open f o r t h e unusual — and h o p e f o r a little bit they need to cater for their
of luck. wants throughout the day —
umbrellas, barbecue, ice box,
chairs and thermos flasks. If
these people had been
photographed head-on, the
background would have been
empty. As it is, the tents
looming out of the mist add to
the feeling of occasion.
A DAY AT THE RACES/1
A DAY AT THE RACES/2

As c r o w d s s t a r t t o g a t h e r ,
open-topped, double-decker
buses are much in evidence.
Here straw-hatted visitors find
a parking space near the rails.
The sense of occasion is
emphasized by jaunty headgear.
The rolling downland has
conveniently provided the
photographer with an elevated
position for this picture. It
improves the angle of view-
considerably.

T h i s is a l s o a d a y o u t f o r
" t h e b o y s , " in contrast to the
organized party above. Parking
spaces are jealously guarded,
and these young men are using
the roof of their van as a
vantage point. Again, because it
is taken from higher ground,
the picture has an interesting
background.
SuperBob

T h e f u n of t h e f a i r adds
tremendous atmosphere to a
big event such as Derby Day.
Research before the event
revealed that the fair did not
start until midday; I planned the
coverage accordingly because
an empty fairground is a
dreary place.
When the sun appeared
briefly, a fleeting opportunity
for creative photography was
not to be missed. With an
exposure for the bright sky in
the background, the ferris
wheel provided a strong
silhouette to break up a set of
misty pictures.

All k i n d s of c o l o r f u l
c h a r a c t e r s turn up at events
such as this. A telephoto lens
keeps the photographer at a
distance and is the ideal tool for
recording spontaneous
happenings. Here, two
musicians entertain the crowd.
A DAY AT THE RACES/3
Always be on t h e lookout
for personalities. As he
cantered down to the start,
champion jockey Lester Piggott
gave the alert photographer a
chance of a close-up. Derby
runners take a cross-country
route to the start of the main
event, so it is impossible to
photograph the jockeys prior to
the start and during the race
itself. Not even the most
nimble of photographers can be
in both places at once!
T h e focal p o i n t of t h e d a y is
the Derby itself. This is the
professional's angle, and all the
pre-planning on the part of the
photographer paid off.
Exceptionally large crowds at
the race meeting meant that it
was essential to take up the
chosen position well before the
big race so as to be right on the
rails. It is important not to have
to leave your spot for any
reason once you are installed,
since you are unlikely to
recover it.
This particular Derby was
very much a one-horse race,
with Steve Cauthen leading by
nine lengths when this photo
was taken. A telephoto lens
(300mm) compresses the
chasing pack and the crowd. It
was important, especially with
the bad weather, to get this
key picture, even at the
expense of other possible
tea
angles, which might or might
not have come off. When in
doubt, go for the big one.

If you c a n n o t g e t to t h e
r a i l s , use the crowd as a frame
for your picture of the race.
This was made possible by
standing on a slight slope. It is
an unusual angle, but it conveys
the involvement of the crowd
extremely well. An 80-200mm
zoom lens, at the 200mm
setting, compresses the scene,
which helps to link crowd and
horses.
T a k e t i m e t o t u r n a r o u n d at
the start of the race. For
bookies and race-goers alike,
this is a time of eager
anticipation: for the
photographer, it is an
opportunity to capture the
excitement in the faces riveted
on the action. This picture took
no more than a few seconds,
but it tells part of the story of a
day at the races vividly.
THE PHOTO ESSAY

A DAY AT THE RACES/4

T h e s e r i o u s b u s i n e s s of
b e t t i n g is best illustrated by
the faces of the men to whom it
matters — the bookmakers.
They make excellent subjects
for photography when oblivious
of the camera.

P e o p l e - w a t c h i n g is almost as
good a sport as the racing,
especially for the photographer
on the lookout. These senior
citizens, relaxing on the grass,
were absorbed in the action on
the course and quite unaware of
the photographer.

7K
S h o o t i n g a d a y at t h e r a c e s
i s t h i r s t y w o r k . Whether
celebrating a win or watching
the action, the race-goer needs
"watering." In the VIP parking
lot. champagne is the order of
the day as ticket-holders and
their guests get in the mood
before lunch. Morning dress is
de rigeur at the Derby and. if it
gets uncomfortably hot, more
refreshment is called for.
In front of the grandstand, a
bottle of beer is all that is
needed to quench the thirst.
Caught unawares by the
telephoto lens, this example of
how the other half drinks was
shot between races.

T h e p a r t y ' s o v e r and, in the

VIP parking lot, the more
formally attired disrobe. This is
a time to pause and reflect on
what was and what might have
been. The day's events are all
over for the race-goers, but for
the photographer, there is an
opportunity to get just one
more shot.
A STORY IN CLOSE-UP
Still-life p h o t o g r a p h y , e v e n a m o n g professionals, is a highly
specialized b u s i n e s s . J u s t o n e p h o t o can t a k e h o u r s or e v e n
d a y s of painstaking care. B u t the a m a t e u r p h o t o g r a p h e r , too,
c a n u s e still-life techniques, plus a little thought, to tell a good
story* in close-up. E v e r y d a y things o r special occasions — a
flower o r a birthday cake, an a w a r d or e n g a g e m e n t , e v e n a
birth — c a n inspire you t o r e c o r d the s c e n e o n film. A close-
up can o f t e n tell the s t o r y m u c h b e t t e r than t h e overall view.
T h e s e p a g e s do not tell you h o w to m a s t e r m i n d a com-
plicated studio s e t u p , but t h e y will s h o w you h o w , b y thinking
c o r r e c t l y , y o u can t a k e a m e m o r a b l e shot. T h e first e x a m p l e
is a popular s u b j e c t for t h e family album. H o w many m o t h e r s
g o t o a lot of t r o u b l e m a k i n g a beautiful birthday cake f o r a
child, only to find t h e p i c t u r e t h e y t a k e d o e s n ' t do j u s t i c e to all
t h e h a r d w o r k ? With a little c a r e , a simple s c e n e can b e c o m e
a good p h o t o g r a p h .

A s t r a i g h t flash throws hard The composition has been

shadows across the table.
Photographing a white cake in
this way is a sure recipe for
disaster.
g i v e n n o t h o u g h t . The
picture is not framed, and the
chairs against the wall are
messy and distracting. The
plant in the bowl looks like a
creature from outer space.

The lighting is m u c h the T h e a d d i t i o n of s o m e

s a m e , but the flash was fired
through layers of tissue paper
to produce a soft, window-light
effect. White paper was held up
at the sides of the scene to
reflect light back into the
shadows, softening the picture
further. A longer exposure has
picked up the warmth of the
candle flames.
r e l e v a n t p r o p s improves the
composition. The napkins to
right and left hold the picture
together and, with the forks,
give a feeling of anticipation. A
china bird fills the empty space
in the foreground and the plant
looks decorative.
T h e c a k e h a s been turned
so you can see the ribbon along
the side. The plates are only
partly visible, so they do not
dominate but rather improve
the composition. The feeling is
now one of luxury-
THE PRIZE WINNER
Winning a school prize o r t r o p h y is always a time f o r celebra-
tion. O u t c o m e s the c a m e r a t o r e c o r d t h e s c e n e f o r p o s t e r i t y
and the family album. You m a y g e t lots of p i c t u r e s of t h e s p o r t s
d a y and e v e n of the prize-giving, but w h e n it c o m e s to
p h o t o g r a p h i n g t h e individual in his o r h e r glory, w i n n e r s and
p h o t o g r a p h e r s alike can b e disappointed.
P i c t u r e s such as t h e o n e at right a r e t o o f r e q u e n t l y all that
r e m a i n of s o m e b o d y ' s big day w h e n , with a little t h o u g h t , a
"winning" p h o t o g r a p h w a s possible. H e r e w e have a t e e n a g e
a t h l e t e w h o has just w o n his first trophy. Any proud p a r e n t
would wish t o p r e s e r v e the m o m e n t . T h i s is not the way to do
it, although t h e a w k w a r d l y p o s e d w i n n e r holding a silver cup
is an all-too-common result.
So, h o w can it b e i m p r o v e d ? A s s u m i n g t h e r e a r e already
p i c t u r e s of t h e a t h l e t e himself, the m o s t i m p o r t a n t f e a t u r e
h e r e is t h e cup. All t h e ingredients are in t h e picture at right,
but it t a k e s a thinking p h o t o g r a p h e r to t r a n s f o r m an ordinary'
picture into s o m e t h i n g special.

T h e a t h l e t e is c l e a r l y The cup h a s a prominent to the picture. This device

r e p r e s e n t e d here, crouched in p o s i t i o n , cleverly framed by
the starting position. His face is the athlete's hand and legs.
not visible, but this is not The lines of the running track
necessary'. are reflected in the trophy,
which adds interest and depth
demonstrates how well you can
tell the complete story by
getting in close.
A straightforward snapshot
of the winning trophy standing
proudly on the window ledge at
home is boring. Silver is difficult
to photograph and here,
reflecting the black shadows of
the room, it looks dirty and
uninteresting.

W h y not p u t t h e c u p in
c o n t e x t ? Placed in the center
of the track, it clearly reflects
the lines of the running track.
This ingenious still-life is a
much more fitting tribute to the
athlete's sporting achievement.

P l e n t y of s p a c e left a r o u n d
t h e s u b j e c t creates the feeling
of being there. The lines of the
track add depth and perspective
to the picture. A slightly longer
lens than usual (135mm) was
used to minimize the reflection
of the photographer in the cup.
This meant the picture could be
shot from farther away.

T h e s h o e s a l s o identify- t h e
s p o r t . Arranged symmetrically
on either side of the trophy,
they too are reflected in it.
HANDS
H a n d s can c o n v e y a r a n g e of e m o t i o n s — joy o r grief, com-
passion or d e t e r m i n a t i o n . As the s u b j e c t s of still-life
p h o t o g r a p h y , and as e l e m e n t s in t h e art of telling a s t o r y in
pictures, a s h o t of h a n d s alone can s p e a k powerfully.
H a n d s a r e a difficult, t h o u g h r e w a r d i n g , s u b j e c t to
p h o t o g r a p h . T h e y a r e not always still, s o focusing has t o b e
a c c u r a t e . Working in close-up, w h e t h e r with a s t a n d a r d lens
o r not, gives little d e p t h of field, s o t h e focal point is critical.
H a n d s have t e x t u r e , w h e t h e r the s u b j e c t is y o u n g o r old,
and lighting should b e s o f t . Daylight, highly diffused flash
o r t u n g s t e n lighting a r e b e s t t o give good, e v e n - m o d e l i n g t o
t h e skin.
T h e angle of the p h o t o g r a p h is also i m p o r t a n t . It is all t o o
e a s y to m a k e a hand look like a b u n c h of bananas. Like the
h u m a n figure, h a n d s look f a t t e r in p h o t o g r a p h s than they are
in real life. As always, s t o p and think b e f o r e you shoot.

R e a s s u r a n c e is t h e t h e m e
here. A child is having a
hospital visit and it is obviously
a painful experience. The
mother offered a comforting
hand to see her child through
the ordeal. "Actions speak
louder than words" is perhaps
the best caption to this shot.

A b a b y g r a s p i n g its
m o t h e r ' s finger is one of the
first forms of physical
communication between parent
and child. This extreme close-
up conveys an extraordinary
strength and determination as
the baby clings to its "life-
support system." There is little
depth of field here but more is
not necessary, since your eye
focuses immediately on the
baby's fingers.

T h e t r a n q u i l l i t y of old a g e is
strongly conveyed here. An old
man was relaxing after a
lunchtime walk. The restful
nature of the scene is admirably
portrayed in close-up. The
wrinkled texture of the skin
shows up well against the
handle of the old man's stick as
he r e s t s his hands on it.
In c o n t r a s t , this was a
carefully controlled situation.
The photograph was part of a
series taken of a couple
celebrating their engagement.
It included a picture of the ring.
In keeping with the occasion,
the hand was posed on lace
over a translucent white plastic
sheet which was lit from below.
White reflectors bounced the
light back on to the skin, thus
softening the picture. A piece
of cellophane was placed over
the lens as a soft-focus filter,
and the photograph was slightly
overexposed to keep the skin
tones clean.
CARS ON CAMERA
C a r s figure largely in our lives and m o s t people w a n t t o If y o u w a n t to be in t h e
p h o t o g r a p h t h e m at one t i m e or a n o t h e r . But e v e n with " o n e picture yourself,
for t h e r e c o r d " s h o t s , t h e r e s u l t s can o f t e n b e disappointing. set the camera up on a tripod
S o m e p h o t o g r a p h e r s t a k e p i c t u r e s of nothing e l s e but cars, and focus it carefully. Most
cameras have a 15-20-second
and this h a s b e c o m e a highly specialized b u s i n e s s . It is p o s -
delay on a self-timer
sible, h o w e v e r , with an ordinary c a m e r a and s o m e careful mechanism, allowing the
t h o u g h t , to t a k e a good p i c t u r e of your car. Running t h r o u g h photographer plenty of time to
our checklist of q u e s t i o n s will help you a lot. position himself in the picture.
T h e first rule with car p h o t o g r a p h y is to clean t h e c a r b e f o r e Think carefully about where
you s t a r t — and not just t h e b o d y w o r k . T h e r e is nothing w o r s e you, or anybody else for that
than a sparkling vehicle with m u d d y tires. W H E R E ? is e x - matter, should be standing in
t r e m e l y i m p o r t a n t . It is not n e c e s s a r i l y a d e q u a t e to p a r k the relation to the car.
car, h o w e v e r clean, o u t s i d e y o u r h o u s e and e x p e c t to t a k e a
spectacular p h o t o g r a p h . Think about the location. W h e r e will
the c a r b e s h o w n off to its b e s t a d v a n t a g e ? Should it c o n t r a s t
with the color of its s u r r o u n d i n g s o r be c o m p l e m e n t a r y t o
t h e m ? W H O M ? do you want in t h e picture, a s well as t h e car?
Would you like to b e in it yourself? WHY? are you taking the
picture? Is it j u s t f o r the r e c o r d o r do you, p e r h a p s , w a n t t o
c r e a t e an i m p r e s s i o n of luxury?
T h e angle f r o m which you view t h e c a r is important, too.
Would it look m o r e i m p r e s s i v e head-on, f r o m t h e side, o r
t h r e e - q u a r t e r f r o n t ; f r o m a b o v e o r below? Finally, W H E N ? is
i m p o r t a n t . T o g e t h e r with W H E R E ? it largely d e t e r m i n e s
HOW? you t a k e t h e picture. T a k i n g p i c t u r e s of c a r s is a bit like
p h o t o g r a p h i n g l a n d s c a p e s : t h e b e s t r e s u l t s a r e o f t e n obtained
early or late in the day.

T h e s t a n d a r d p h o t o , with the
vehicle parked outside a house,
is boring and untidy. The
lighting is bad, and the car does
not stand out from the hedge
behind it. This is not an easy
car to photograph because of its
dark gray color. T h e color
element will have to be
enhanced by the lighting and
background.
L o c a t i o n a n d t i m e of d a y
are all-important.
There is nothing special about
the location: it is a public place
but, since the picture was taken
in the early evening, there
were no traffic problems. The
setting contributes to the
luxurious look of the car, and
the dappled, evening light adds
color and warmth to the
picture. T h e headlights were
turned on to complement the
lighting. The photographer has
positioned himself to the rear of
the driver's door to avoid
concealing interesting details of
the car. This picture is far
superior to the first one, but it
needed only a little thought to
achieve it.
SPORT AND ACTION
It is an u n f o r t u n a t e fact of life that m a j o r s p o r t i n g e v e n t s o f f e r
f e w o p p o r t u n i t i e s for good action photography. T h e good
action shot is a prized p o s s e s s i o n in many a p h o t o g r a p h e r ' s
collection, but c o v e r a g e of the big e v e n t s is increasingly
r e s t r i c t e d to the professionals.
All t o o o f t e n the a m a t e u r can be s e e n firing a tiny .flash on
a simple c a m e r a f r o m the back r o w s of t h e s t a n d s . T h i s
unthinking a p p r o a c h is o f t e n b o r n of d e s p e r a t i o n . With the
m o s t popular s p o r t s , the a n s w e r is to t a k e p i c t u r e s on practice
d a y s o r at a minor e v e n t w h e r e t h e r e a r e no big n a m e s playing.
You m u s t f a c e the fact that you have little chance of g e t t i n g
good p i c t u r e s of t o p a t h l e t e s c o m p e t i n g .
There are n u m e r o u s s p o r t s w h e r e t h e amateur
p h o t o g r a p h e r is not only w e l c o m e d but w h e r e excellent p e r -
f o r m a n c e s will provide you with t h e opportunity to t a k e good
p i c t u r e s . T h e s e a r e s p o r t s in which big-money s p o n s o r s h i p is
not yet involved, the c o m p e t i t o r s a r e still truly a m a t e u r , and
c o m p e t i t o r s ' n a m e s do not r e a c h the headlines. Any s e r i o u s
a t h l e t e a p p r e c i a t e s good p h o t o g r a p h s , and will usually
c o o p e r a t e with a creative, thinking p h o t o g r a p h e r .
C o n c e n t r a t e on s p o r t s such as judo, trampolining, shooting,
s w i m m i n g o r canoeing. All t h e s e , and many o t h e r s , provide an
o p p o r t u n i t y for making s t u n n i n g p h o t o g r a p h s .
Finally, you do not n e e d to p h o t o g r a p h s p o r t s m e n and
w o m e n while t h e y a r e actually competing. Given a little time
and c o o p e r a t i o n during practice s e s s i o n s , the thinking
p h o t o g r a p h e r h a s m o r e control o v e r the situation. T h i s is
much the b e s t w a y of getting s p o r t s pictures.

K a r e n B r i g g s is a w o r l d - strong image. The two girls

c l a s s j u d o c h a m p i o n . She
seldom reaches the sports
pages of the world's
newspapers, yet she is a great
amateur athlete who relies
upon understanding employers
and minor sponsors to be able
to compete. She cooperated
readily for these action
pictures.
Judo is a difficult sport to
photograph. The action
happens extremely quickly and
usually against an empty
background, so a lot of thought
is necessary to produce a
were back-lit with colored lights
and were asked to make the
same throw twice on the same
spot. The first time a shutter
speed of 2 seconds was used to
produce colored blurs. Then,
on the same frame of film, the
photographer used flash to
"freeze" the action. This double
exposure not only has a still
image but also traces of the
throw. T h e action and
excitement of the sport come
through.
GOLF
U s e p r a c t i c e d a y s for taking
pictures of the big sporting
names, especially if only pro
photographers will be allowed
near the action during the major
event itself. Here, Lee Trevino
is photographed during his final
practice round in the British
Open Golf Championship. With
golf, timing the shot is difficult.
Make allowance for the delay
between pushing the shutter
release and the moment of
exposure. In this picture, with
the action frozen, the ball is a
white blur as it speeds off the
clubhead.

T i m i n g is c r u c i a l , not only
for the photographer but
also for the competitor. In
this instance, the shutter has
been released ahead of the
stroke. By using a 300mm lens,
there is no distraction to the
golfer who is concentrating
hard on his stroke.
w • y
Sr** "
Photographing sporting
s t a r s close-up is easier on
practice days, too. The relaxed
nature of these sessions gives
you a chance to get a good
portrait as the sportsmen pause
to chat with the crowd or sign
autographs. Take advantage of
occasions like this to take
professional-quality pictures.
B u n k e r s will a l w a y s g i v e
y o u a c t i o n . Sometimes,
golfers go for an entire round
without hitting a ball into the
sand. But on practice days they
will often deliberately go into
the bunkers to try out their
recovery shots. They may well
hit more than one ball, too,
which means you may have
several attempts at a good
action shot.
TRAMPOLINING
T h e p r o b l e m of c o m p a r a t i v e Using t h e t r a m p o l i n e
s i z e is well illustrated here as s u r r o u n d as a colorful frame
the camera looks down on for this powerful picture,
world champion Sue Shotton the photographer fires as the
from 30-40 feet above the gymnast soars toward the
trampoline. She is dwarfed by camera. This photograph was
the apparatus. This is quite a tried with the atlilete in a
strong portrait, but it lacks the number of different positions,
action of the event. This including horizontal to the
session was helped by the ground.
athlete's willingness to help.

F i n d i n g t h e r i g h t a n g l e for
photographing trampolining is
not easy. Trampolines are
surprisingly large at close
quarters, and the usual view
from ground level leaves a lot
of space between gymnast and
apparatus. In this instance, the
thinking photographer decided
to use the trampoline as a
frame for the picture by
shooting straight down on the
subject. A cooperative team of
volunteers hoisted him up to iin>i!imMuiiuumiiBiiiimiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiuiiiiiiii
the roof so he was above the
action. Several flash units,
positioned to the side and
underneath the trampoline,
were triggered by slaves from
the flash on the camera.
WHITEWATER KAYAKING/1
Exciting s p o r t s abound with action-packed p i c t u r e s if you
know h o w to g e t t h e m . W h i t e w a t e r kayaking a f f o r d s many
o p p o r t u n i t i e s f o r t h e p h o t o g r a p h e r , since c o m p e t i t o r s tackle
the c o u r s e one at a time, against the clock. So, although it
t a k e s only a f e w m i n u t e s for r a c e r s to negotiate t h e rough
w a t e r , if you m i s s a p i c t u r e of one, t h e r e will be a n o t h e r right
behind. A f u r t h e r a d v a n t a g e of this s p o r t is that you do not
n e e d a special pass, a s for s o m e popular e v e n t s . You can c o v e r
the whole c o u r s e , choosing t h e b e s t positions f r o m which to
shoot.
A t e l e p h o t o lens is an a d v a n t a g e but is not essential: a
simple c a m e r a can t a k e good action pictures. T h e trick is to
think clearly about t h e c a m e r a position and to g e t your timing
right. Rough w a t e r p r o v i d e s g r e a t action, but t o o m u c h s p r a y
can obliterate t h e c o m p e t i t o r . And, with s o m a n y v a n t a g e
points, it is o f t e n difficult to w o r k out w h e r e t h e b e s t p i c t u r e s
will be. T h e c o u r s e is not long, but, with b o t h b a n k s and a
v a r i e t y of w a t e r conditions to c h o o s e f r o m , you m u s t have a At t h e s t a r t of t h e e v e n t , T i m i n g i s c r u c i a l . The
clear appreciation of the whole situation and b e s u r e of what competitors face a drop over a picture on the left was taken far
it is you w a n t t o achieve. weir into rough water. This is too late. T h e kayak has already
T h e first rule, as with any e v e n t , is g e t t h e r e early. Walk t h e the natural place for a hit the rough water, sending up
c o u r s e , talk to p e o p l e who k n o w t h e terrain. N o t e w h e r e t h e photographer to start too, since clouds of spray which have
sun is and w h e r e it will b e later on. Think about c a m e r a angles: you can focus on the dropping obliterated the competitor's
would t h e b e s t p i c t u r e s b e f r o m w a t e r level o r f r o m an point before the racer arrives. face. The timing on the right
The sudden descent into the was perfect. The kayak is
e l e v a t e d position along the b a n k s ? Would the m o s t exciting
white water should make a dropping and there is a great
s h o t s be in t h e r o u g h e s t w a t e r ? Is o n e bank b e t t e r than t h e good shot if the timing is right. feeling of action from spray
o t h e r , and should you b e at t h e s t a r t or the finish, or half- thrown up by the paddle. The
w a y down the c o u r s e ? competitor's face is clear.
With t h e s e things clearly m a p p e d out in y o u r mind, think
about t h e e f f e c t s you w a n t t o p r o d u c e . Should t h e action b e
f r o z e n by a fast s h u t t e r s p e e d , o r would it b e b e t t e r to u s e a
s l o w e r s p e e d and pan with t h e action to s h o w m o v e m e n t ?
T h e r e is p l e n t y of time to think during an e v e n t such as this,
but you can be as baffled by a lot of options as you can b y a few.
F o r t h e thinking p h o t o g r a p h e r , h o w e v e r , a thrilling s p o r t
p r e s e n t s an exciting challenge and can p r o d u c e s o m e
spectacular results.

P l o t t i n g t h e o p t i o n s along from the start is the first

the course on a small map will stretch of rough water. The
help the photographer. The photographer here has a side-
course is only about half a mile on view of the competitor.
from start to finish, and both
banks can be walked easily.
Slightly farther downstream
 STOP! THINK!
Alter t h e l i g h t i n g

Strong s u n l i g h t shows up the

textures of water and rock.
However, the picture lacks
impact from this angle, although
it is still a good action shot. A
different location or a different
effect will improve it
considerably.
WHITEWATER KAYAKING/2

S h o o t i n g i n t o t h e l i g h t has
produced a totally different
image, even though this was
taken from the same position as
the previous picture.

STOP! THINK:
Try an elevated
position

s&t J - - ^ m

Prom an elevated position,

the photographer looks down
on the race in an area of
relatively calm water. This
does not help to convey the
action at all unless a different
technique is used.
By l o o k i n g d o w n s t r e a m and
exposing for the highlights on
the water, an almost nighttime
effect has transformed the
shot. Timing was important
again here: the shutter was
released as the paddle entered
the wafer.

STOP! THINK:
T a c k l e it h e a d - o n

P a n n i n g w i t h t h e a c t i o n of
t h e k a y a k , together with a
slow shutter speed, has
produced a lively photograph,
even though the kayaker is in a
region of calm water. The
photographer's elevated
position is put t o good use
here: large areas of blue water
add color to the picture and the
spray stands out against this
background. Within a few
yards of the start of the
course, therefore, the
photographer has produced a
variety of pictures. But all his
a t t e m p t s so far have been from
the safety of the bank. What
about positioning the camera
head-on to the action?
So STOP! and THINK!
WHITEWATER KAYAKING/3
Ail ideal h e a d - o n p o s i t i o n in
this instance coincided with the
roughest water in the final
descent of the course. The
photographer positioned himself
so that the racers came directly
at him. Always be prepared to
get your feet wet. The thinking
photographer packs waterproof
gear on such occasions.

The subject was moving 300mm lens was used. Careful

directly toward the camera,
so the shutter speed did not
need to be as fast as would be
necessary were the action
going across the frame. A
slower speed meant that a
tripod was necessary. A
focusing was needed, too, since
long lenses have a shallow
depth of field. Creative
cropping of the same picture
increases its impact
dramatically.
Zooming f r o m this position
offered exciting possibilities.
This dramatic shot required a
sturdy tripod, a slow shutter
speed and changing lens focal
length during the exposure.
Even the most experienced
photographer is never totally
sure what the effects of this
technique will be until the film is
processed. On tliis occasion the
result was worth the effort.
Many photographers would be
content with the coverage of
this event so far, but there is
always the possibility that an
unusual angle has been missed.
So, STOP! and THINK
AGAIN!

STOP! THINK!
Look for the
unusual angle
)
WHITEWATER KAYAKING/4

An u n u s u a l a n g l e m a y
e a s i l y b e o v e r l o o k e d when
there are a lot of picture-taking
opportunities. Halfway down
the course was a small bridge
under which the kayakers had
to pass. This was rejected as a
picture-taking position in the
first instance because some
advertising billboards were in
the way. Also, the action head-
on was disappointing.

By s t a n d i n g o n t h e b r i d g e
a n d l o o k i n g d o w n , the
photographer found the one
place on the course where the
racers passed directly beneath
him. A wide-angle lens was
used this time so that plenty of
rushing water would be in the
frame, as well as the kayaker.
A fast shutter speed froze the
action, and the bright sunshine
yielded saturated colors.
THE MOVING SUBJECT
Action s h o t s a r e not m e r e l y an ingredient of s p o r t s photo-
g r a p h y . T h e r e is m o v e m e n t in s h o t s of e v e r y d a y life — f r o m
a b u s y shopping c e n t e r t o a flowing river, f r o m children in t h e
p a r k t o animals a n y w h e r e . And you can c a p t u r e or e v e n c r e a t e
motion. C l e a r thinking is n e c e s s a r y to decide h o w t o act c o r -
r e c t l y in any situation.
M o v e m e n t can b e " f r o z e n " by a fast s h u t t e r s p e e d . T h i s
m e t h o d is o f t e n u s e d in s p o r t s p h o t o g r a p h y , w h e r e the
p h o t o g r a p h e r w a n t s to r e c o r d a particular m o m e n t and n e e d s
t o " f r e e z e " t h e action, but it is not always t h e m o s t effective
technique.
A slow s h u t t e r s p e e d gives a g r e a t feeling of m o v e m e n t .
Blurring can be u s e d in action p h o t o g r a p h y , but it is also a good
w a y t o r e c o r d r i v e r s and p e o p l e in situations t h a t might o t h e r -
wise look static.
Panning is a combination of t h e first t w o m e t h o d s . You m o v e
t h e c a m e r a itself, following t h e s u b j e c t , during e x p o s u r e . T h e
result is a blurred background but a subject in s h a r p focus.
By " z o o m i n g , " you c r e a t e t h e i m p r e s s i o n of m o v e m e n t
e v e n though t h e s u b j e c t is stationary. You o p e r a t e the l e n s '
zoom control during e x p o s u r e , giving an explosive effect to the
picture. If t h e s u b j e c t is c e n t e r e d , it will remain s h a r p . T h e
e d g e s of the p h o t o g r a p h " e x p l o d e " o u t w a r d giving the im-
p r e s s i o n of motion. You can also u s e this t e c h n i q u e o n a
m o v i n g s u b j e c t with startling r e s u l t s ( s e e p. 106).
T h e thinking p h o t o g r a p h e r m u s t c o n s i d e r carefully which
m e t h o d to apply in a specific situation. You n e e d a clear idea
of t h e d e s i r e d result.

T h e b u s t l i n g floor of was used here to keep some

London's Stock E x c h a n g e figures sharp, while blurring
requires a compromise shutter others. Too long an exposure
speed to convey the action would have produced a totally
while freezing certain details so blurred image. Too short an
that the viewer can identify the exposure would have
situation. Ii was necessary to contradicted the busy
observe the scene for a while atmosphere by freezing the
before deciding the final scene completely.
exposure settings. Brokers
who are on the telephone or
deep in conversation are
virtually still. Others move
quickly around the floor. A
shutter speed of 1/2 second
THE MOVING SUBJECT
HOW TO PAN
P a n n i n g is following t h e
a c t i o n by m o v i n g t h e
c a m e r a in the direction the
subject is moving, in this
instance a horse and rider
jumping. You must move the
camera smoothly, with good
follow-through of the action
even after the exposure is
made. A fast shutter speed
would have stopped this action
in mid-jump; it would still have
been a good picture, but a
shutter speed of 1/15 second
gave a better feeling of speed.
The shutter was released when
the rider was against a
background of trees. The
resulting green blurs add to the
feeling of movement. Had the
rider been shot against the sky,
there would have been no
streaks to convey the notion of
speed. Background is
extremely important with this
technique.
CHANGING
T h e c h o i c e of s h u t t e r s p e e d
can make a big difference to the
end result. In this picture of a
small waterfall in a fast-flowing
river, a shutter speed of 1/250
second has stopped most of the
water movement, retaining just
enough in the foreground to
give some idea of the speed of
the river.
A 1/4 s e c o n d e x p o s u r e gives
the same scene a different
effect. The rushing water now
appears as a series of white
ribbons, although the rocks are
still sharp. T h e same exposure
was used — aperture size
decreased as shutter speed
lengthened. This shows the
choices available when you
want creative blur.
T h e diagram shows how to
take such a photo. Look at the
subject through the viewfinder
at an early stage. Swing the
camera smoothly with the
moving subject, which should
be in the center of the
viewfinder at all times. Release
the shutter at the peak of the
action and follow through your
action at the same speed.
THE SHUTTER SPEED
USING TIME EXPOSURE
Vary exposure time and
also time of day — to dramatic
effect. The San Diego Freeway
in Los Angeles is a busy
highway at any hour, but early
morning rush-hour activity is
frozen here by a short
T a k e n at n i g h t , the same
scene acquires a totally
different look. A shutter speed
of 10 seconds has recorded
streaks of red and white from
the lights of moving vehicles.
T h e brightly lit windows of the
106
exposure. The sun, angling
through the notorious LA
smog, has neutralized the color
and produced an almost
monochromatic image.
towers and the deep blue night
sky not only bring the image to
life but create a great sense of
movement. A sturdy base for
the camera, or even a tripod,
was absolutely essential for this
shot.
ZOOMING
Z o o m i n g i s o f t e n u s e d to
g r e a t e f f e c t by movie and TV
camera crews. You can use this
technique in a static situation to
inject a sense of movement and
urgency into a photograph.
An a c c i d e n t v i c t i m is here
being brought by ambulance to
the emergency unit. The first
shot was lit with flash and
carefully exposed to pick out
the lights of the ambulance.
T h e nature of the emergency
has, however, been totally lost
in the picture.
A zoom l e n s injects a sense of
urgency. Although the subject
was almost stationary on the
stretcher, a 1/15 second
exposure made during zooming
gave life to the picture. The
ambulance crew and the patient
were centered in the frame and
so were hardly affected by the
zooming effect. But the edges
of the photograph have
"exploded," and the streaks of
light from the sign and lights of
the ambulance add considerable
drama.
LANDSCAPES AND LANDMARKS
E v e r y o n e w h o o w n s a c a m e r a l a k e s p i c t u r e s of i n t e r e s t i n g
places at s o m e time o r o t h e r , w h e t h e r they b e castles,
c h u r c h e s , palaces, m o n u m e n t s , l i g h t h o u s e s o r p i c t u r e s q u e
t o w n s . T h e r e s u l t s a r e o f t e n disappointing b e c a u s e t h e e y e
s e e s selectively, while the c a m e r a r e c o r d s the s c e n e in f r o n t
of it exactly as it is, clutter and all.
P h o t o g r a p h i n g places is all about viewpoint, angles and
light. So w h e n you find yourself in an i n t e r e s t i n g place, how-
should you s t a r t taking pictures? S t o p and think about t h e
viewpoint f o r a s t a r t . W h e r e is the b e s t place t o t a k e t h e
p i c t u r e from? T h e n , what about angle? You cannot c h a n g e t h e
n a t u r e of t h e place o r control conditions, but different l e n s e s
c a n help you i n t e r p r e t t h e s c e n e in different w a y s . U s i n g a long
l e n s f r o m a d i s t a n c e o r a wide-angle lens c l o s e - u p can b e v e r y
e f f e c t i v e . If you only h a v e o n e lens, find t h e b e s t v a n t a g e point
a n d lighting conditions for it.
Lighting conditions a r e e x t r e m e l y i m p o r t a n t . H o w d o e s
light fall on the s u b j e c t ? M a n y p i c t u r e s a r e t a k e n around mid-
day, w h e n t h e lighting is at its w o r s t , especially w h e r e build-
i n g s o r v i e w s a r e c o n c e r n e d . Would t h e p i c t u r e b e b e t t e r if
t a k e n earlier o r later in t h e day, o r in d i f f e r e n t w e a t h e r con-
ditions? P h o t o g r a p h y is a 24-hour art form, e v e n if it is only
y o u r hobby. Don't ignore the possibility of taking p i c t u r e s at
night.
If you cannot r e t u r n w h e n light conditions a r e different, you
wall have t o m a k e t h e b e s t of things. But with a little time and
e x t r a a t t e n t i o n , you can t r a n s f o r m an ordinary s n a p s h o t into
a great photograph.

A m a g n i f i c e n t c a s t l e always another day, but this was not

makes a good photographic
subject. Leeds Castle in Kent,
England, is in a lovely setting
and is surrounded by a moat.
The castle has been beautifully
restored to its former glories.
But the day this photograph
was taken was gray and rainy.
There were no dramatic clouds
to liven up the sky. and the
gray castle walls matched the
weather, making the scene dull
and flat. The obvious thing
would have been to return
possible. So the thinking
photographer decided to wait
until dusk, when the castle
lights would be turned on and
reflected in the moat. Just
before the last of the daylight
left the sky, a four-second
exposure brought the castle to
life, with the reflections
creating an intriguing second
image. Richer colors were
brought out in an enchanting
nighttime shot, produced by the
photographer biding his time.
THE LIGHTHOUSE/1
F a m o u s l a n d m a r k s a r e not n e c e s s a r i l y photogenic. N e i t h e r
a r e t h e y always in easily a c c e s s i b l c placcs, e v e n for t h e
intrepid p h o t o g r a p h e r . T h e M o n t a u k L i g h t h o u s e is o n e such
landmark. S i t u a t e d at the e x t r e m e tip of L o n g Island, it is a
destination f o r t h o u s a n d s of t r a v e l e r s . It p r e s e n t s an intriguing
challenge to t h e p h o t o g r a p h e r , having the Atlantic O c e a n on
t h r e e sides.
M y first view of the lighthouse w a s short-lived, for a h e a v y
s e a mist c a m e in. A d v e r s e or rapidly changing w e a t h e r con-
ditions should not d e t e r you, indeed t h e y m a y s o m e t i m e s w o r k
to your a d v a n t a g e . On this occasion, h o w e v e r , conditions
w e r e far from ideal.
T h e Montauk L i g h t h o u s e is not o n e of the w o r l d ' s p r e t t i e s t
s t r u c t u r e s , and a c o m m o n p r o b l e m with p h o t o g r a p h i n g any
lighthouse is background. Usually high against the sky, t h e y
c a n b e l e s s than i m p r e s s i v e on film u n l e s s t h e r e a r e particular-
ly d r a m a t i c clouds. In this i n s t a n c e t h e r e w e r e none. AJso, T h e f i r s t v i e w of t h e
lighthouses tend to b e located o n bleak p r o m o n t o r i e s . T h o u g h M o n t a u k L i g h t h o u s e is from
the parking area, looking due
the e y e can s w e e p rapidly o v e r the s c e n e like a movie c a m e r a ,
east. Many visitors go no
it is e x t r e m e l y difficult to c a p t u r e the s e t t i n g in a single still farther than this spot and take
photograph. pictures from here.
It t o o k a g r e a t deal of time, thought and hard w o r k to S e e n t h r o u g h t h e l e n s , the
p r o d u c e the final p h o t o g r a p h in this s e r i e s . Especially with t h e lighthouse looks unspectacular.
changing w e a t h e r conditions, a multitude of different angles The composition is messy and
and v i e w p o i n t s had to b e tried. T i m e of day and c a m e r a angle full of distractions such as the
played an important p a r t in t h e final shot. H e r e , s t e p by s t e p , white lines on the road. The
is h o w t h e -shooting p r o g r e s s e d . sky is bland.

A m a p of t h e a r e a shows the might need a boat to get a

lighthouse to have ocean on sunset shot. There is not much
three sides. Since the sun sets high ground nearby either, so
on the land side of the different angles and foreground
lighthouse, the photographer effects need to be tried.
 An " a t m o s p h e r i c " v i e w of
the lighthouse results. The
dark trees and mist-shrouded
lamp house are certainly
effective, and the picture has a
black-and-white effect, although
photographed in color. The
view is limited, however, and
the lighthouse could be any one STOP! THINK!
of several such landmarks. Find a b e t t e r
foreground

As t h e m i s t c l o s e s in,
reducing visibility, so does
the photographer. The idea
here is to create a ghostly
image, framed by the dark
trees. T h e camera is turned to
frame the lamp house
vertically.
THE LIGHTHOUSE/2
> ^
Look f o r p a t t e r n s , which
against a flat, dull sky will add
interest to the foreground. The
branches of a thorn bush made
a diamond pattern for the
camera to look through (below).
A 200mm lens was used to
throw the bush out of focus so
that it framed, but did not
intrude upon, the subject.
The picture now has color and a
strong, interesting frame. It
still shows only part of the
lighthouse, however, and tells
the viewer nothing about its
dramatic setting. This
photograph is effective as part
of a scries of pictures of the
Montauk Lighthouse, but by
itself it does not say enough.
A d i f f e r e n t v i e w p o i n t is
created as the photographer
moves to his left, circling the
lighthouse toward the sea.
Some dune grasses are now in
the foreground and. since the
sky is so dull, they might add
some interesting texture.

Abstract foreground shapes

can be fun, and this wider shot
shows the lighthouse in situ.
STOP! THINK!
\
/
Start again
The picture does not work well,
however. The grasses are out
of character with the subject
and the silhouettes serve no
creative purpose. It is time to
rethink the photograph
completely.
THE LIGHTHOUSE/3

Lighthouses mean rocks

a n d s e a to most people. By
walking to the edge of the
ocean, the photographer gets
the shoreline in the foreground.
The lighthouse is now seen in
context, but this is not the
most interesting of photos.
S e a w e e d - c o v e r e d r o c k s in
the foreground frame the
lighthouse nicely, but due to
the very low angle of the shot,
they have darkened the picture.
Also, the lighthouse is
relegated to the background.
 STOP! THINK!
Find a new
viewpoint

Moving f a r t h e r u p t h e
b e a c h improves the picture in
two ways. The rocks are now
clear of seaweed and. with the
sun shining on them, they are
lighter and add warmth to the
photograph. The buildings are
larger in the frame, too. This is
an interesting treatment, but
the picture can still be
improved.

A much more graphic image

is produced by holding the
camera vertically so most of the
picture is filled by rocks. This is
an "unreal" treatment of the
lighthouse and changes the
whole perspective of the
THE LIGHTHOUSE/4
Good c o m p o s i t i o n makes this
picture (left). It is well balanced
with the tree, branches and
shrubs. All help to draw your
eye to the center.

B a c k t o t h e land now (below)

as the photographer, having
explored the ocean view of the
building, investigates the view T h e f i n a l p i c t u r e (right) is
from the approach road to the basically the same as the one
lighthouse. Backing off with an at top, but, fittingly,
80-200mm zoom lens, he uses lighting is the key to showing
the tree as a frame. the Montauk Lighthouse at
its best. The finishing touches
are the evening light and the
angle of the sun's reflections as
they fire the windows of the
lighthouse buildings. A
polarizing filter darkens the sky
to emphasize this.

T i m e of d a y the last trick in better lighting. Crossing the

the repertoire of the landscape
photographer — adds the
element of drama previously
lacking. Having found a good
angle, the photographer needs
road, changing the lens and
waiting produced this wide-
angle view. The changing light
of the setting sun shows the
lighthouse as a true beacon.
TIME OF DAY
W H E N ? you c h o o s e to t a k e a p h o t o g r a p h can m a k e o r b r e a k T o w e r Bridge, London, just
a picture. T h e quality of daylight c h a n g e s greatly f r o m d a w n b e f o r e d a w n is bathed in light.
to d u s k , s o you m u s t think carefully about how t h e time of day This is a good subject to show
is going t o affect taking pictures. how lighting changes, because
P h o t o g r a p h y is all about light. T o p r o d u c e a picture, light the River Thames at this point
m u s t p a s s through t h e c a m e r a lens o n to t h e film, but the flows northwest to southeast,
so the sun moves across our
quality of that light is m o r e i m p o r t a n t than t h e quantity. You
view here during the course
can u s e a n u m b e r of light s o u r c e s , from natural light to tung- of the day. An early-rising
s t e n and flash, b u t for t h e a v e r a g e p h o t o g r a p h e r daylight is the photographer is rewarded with
m o s t c o m m o n light s o u r c e . this picture in the early morning
T h e color of daylight c h a n g e s f r o m s u n r i s e to s u n s e t . M a n y light. A slow exposure made
professional landscape p h o t o g r a p h e r s u s e a mobile h o m e to b e the flowing water appear
on t h e s p o t and t a k e a d v a n t a g e of early or late lighting con- smooth, with the result that the
ditions. You d o not n e e d t o g o t o t h e s e lengths, but t h e think- bridge and I IMS Belfast are
dramatically reflected in the
ing p h o t o g r a p h e r m u s t b e p r e p a r e d to rise early, s t a y out late
river.
and b e patient if t h e w e a t h e r c h a n g e s f o r the w o r s e .
S u n r i s e and s u n s e t h a p p e n quickly and it is not enough
m e r e l y t o b e in t h e right, place at the right time. O f t e n you have
only a f e w s e c o n d s w h e n the lighting is ideal. If, f o r example,
you want to p h o t o g r a p h the Lincoln Memorial in Washington
DC f r o m t h e far e n d of t h e Reflecting Pool ( s e e page 124),
t h e r e m a y not b e sufficient time to get to the o t h e r e n d of t h e
pool b e f o r e t h e light of t h e rising sun h a s m o v e d off the s t a t u e .
You n e e d t o a s s e s s quickly t h e e f f e c t s of different lighting on
a s u b j e c t and to c o n s i d e r time of day as p a r t of y o u r overall
planning. As always, h a v e a clear idea of what you a r e trying
t o adhieve.
A s well as color balance, t h e w a y light falls on a s u b j e c t
during t h e c o u r s e of t h e day m u s t b e carefully c o n s i d e r e d . T o
s h o w t e x t u r e , light should slant a c r o s s a surface, not fall
directly on it f r o m t h e direction of t h e c a m e r a . S h a d o w is
important in shaping a s u b j e c t , to give it d e p t h and contour.
Although midday is o f t e n t h e w o r s t time f o r p h o t o g r a p h y ,
m a n y p i c t u r e s a r e t a k e n then. T h e s u n is at its highest, s o
p e o p l e t e n d t o have black s h a d o w s a r o u n d their e y e s , c a u s e d
by the t o p light. T h e l o w e r t h e light, t h e w a r m e r and m o r e
flattering t h e picture. M a n y fashion s h o o t s a r e d o n e early o r
late in t h e day f o r this r e a s o n . Professional p h o t o g r a p h e r s
o f t e n t a k e a r e s t during n o o n d a y sunlight, and you would do
well to adopt a similar " s i e s t a " mentality.
W h e n e v e r you t a k e p i c t u r e s , b e a w a r e of the lighting, u s e
it creatively, and r e m e m b e r that the quality, not the quantity,
of light p r o d u c e s a good p h o t o g r a p h .
TOWER BRIDGE/1
S u n r i s e i s o n e h o u r l a t e r , at
about 5 a.m. in the summer.
Already the color balance is
changing radically as the sun
climbs above the horizon. A low
light silhouettes the bridge and
lights the sliip from the side.
The sun rises steeply to the
left here, producing rapidly
changing light and, in summer,
passes overhead rather than
behind the bridge. None of
these or the following pictures
was taken with a filter and,
therefore, show the changing
conditions quite accurately. All
were taken on the same day.
TOWER BRIDGE/2
By 8 a . m . the attractive
golden light of early morning
has gone. This image is not as
strong as the first two.
although the angle of the light
still produces an interesting
effect. Exposing for the
highlights has preserved the
silhouette effect, but there is
less impact than earlier on.

Midday is when many tourists

might photograph Tower
Bridge, but top light completely
ruins the picture. The river is
bustling with pleasure boats,
and the bridge has detail, but
the sky is flat and
uninteresting. The picture
merely records the scene.
 In ( h e l a t e a f t e r n o o n , around
5 p.m., the photographer had
to contend with patchy clouds
and the sun going in and out of
them. T h e result is that in this
picture only one tower is sunlit.
The lower angle of the light
produced a slight improvement
on the midday photograph.

By 6 p . m . the low evening

sunlight, falling fully on the
bridge, brings the picture to life
once more. The color of the
light has altered again, and
there is now a warm, golden
hue. T h e ship is well lit and a
single pleasure cruiser adds
MHoJ interest in the foreground but
B^iii'ijj does not detract from the
subject. Early morning and
evening have, therefore,
proved the best times to
photograph Tower Bridge,
showing how crucial time of day
is to the thinking photographer.

• -
TIME OF DAY
WASHINGTON MONUMENT
C r o w d s a r e a p r o b l e m when
you photograph well-known
landmarks during the day. An
early start will not always solve
this problem because there may-
be other people with the same
idea. This picture of the
Washington Monument was
taken early in the day, but
already too many people spoil
this view.
E v e n i n t h e m i d d l e of t h e
day, however, it is possible
to avoid the crowds by
changing the angle of view.
Getting down at the edge of the
Reflecting Pool clears the
foreground and exploits
the mirror-like qualities of the
water. But the picture could
still be improved. When would
be a better time of day?
*
D a w n is a w o n d e r f u l t i m e
for a landscape photographer.
This is when the light is at its
best. It may be a struggle to
get out of bed early enough,
but the results arc often worth
the effort. Here, in the early
morning stillness, the
Reflecting Pool is a perfect
mirror, and the Washington
Monument can be
photographed in silhouette
against the rising sun. The only
inhabitants of the park at this
hour are the ducks, one of
which obligingly took off in the
right part of the frame. A single
exposure was all that was
possible. T h e right time of day,
together with a little bit of luck,
combine to produce a strikingly
beautiful image.
LINCOLN MEMORIAL

Some subjects can be shot

o n l y at a c e r t a i n t i m e of
d a y . At the other end of the
Reflecting Fool from the
Washington Monument is the
Lincoln Memorial. Only for a
few minutes after sunrise does
the sun illuminate the giant
figure of Lincoln seated within
the memorial building. Too
early, and the pillars throw a
shadow: too late, and the sun is
high enough to create a shadow
on the face. The ideal view,
across the pool with the figure
perfectly lit, makes a dramatic
photograph.

T h e p r o b l e m of s h a d o w on
the statue as the sun climbs
high becomes apparent during
the time it takes to walk the
length of the pool. So you
would need another early start
to take a close-up of the figure
fully illuminated. This head-on
view, taken late in the day, is
the most common angle, but
there are other options.

In t h e m i d d l e of t h e day,
when there are crowds of
visitors who tend to stand
directly in front of the statue,
moving to the side not only
 T h e l a r g e e x p a n s e of
s h a d o w at the bottom of the
frame, contrasting with the
brightly lit statue at the top.
makes this a powerful picture.
It is a striking, yet at the same
time rather intimate, view. The
pillars lit at the edges make a
stark frame and, with the use of
the vertical format and the
placing of the statue off-center,
the result is an unusual view of
the Lincoln Memorial.

W i t h t h e s u n h i g h in t h e
s k y , only the foot of the statue
is illuminated, but light reflected
off the marble lloor gives good
modeling on the face. Closing in
on the statue, still framed to
one side by the edge of a pillar,
means that the whole emphasis
of the photograph is on the
figure. A portrait, which the
picture has now become, is
seldom lit from below, but in
this instance it is extremely
effective, producing a striking
photograph.

eliminates the problem, but

produces a new viewpoint.
From here, use the pillars as a
frame.
REFLECTIONS
R e f l e c t i o n s can be a nuisance t o a p h o t o g r a p h e r , but t h e y can
also help him c r e a t e s o m e g r e a t e f f e c t s . U n w a n t e d reflections
can b e cut out b y using a polarizing filter o r by the careful
choice of c a m e r a angle, and t h e y can be minimized by controll-
ing the lighting. Alternatively, t h e y can b e put to practical u s e .
F o r e x a m p l e , a m i r r o r in a r o o m effectively l e n g t h e n s , or
w i d e n s , t h e a p p e a r a n c e of that r o o m , a n d w h e n p h o t o g r a p h i n g
in a small r o o m , a reflection in a m i r r o r can b e as valuable as
a wide-angle lens.
M o d e r n a r c h i t e c t u r e has e e n t h e rise, literally, of m o r e and
m o r e m i r r o r e d buildings. T h e s e can b e put to c r e a t i v e u s e by
t h e p h o t o g r a p h e r , f o r e x a m p l e in c o n t r a s t i n g t h e n e w building
with s u r r o u n d i n g architectural s t y l e s .
Reflections can also b e u s e d to c r e a t e mood in a picture. You
do not n e e d t o limit yourself t o m i r r o r s . Any shiny s u r f a c e
— a window p a n e , a s h o p f r o n t — is reflective. If you a r e using
flash, s t a n d at an angle t o t h e glass, o t h e r w i s e t h e light will
b o u n c e s t r a i g h t back into the lens and ruin t h e picture. You
should t r e a t any glass as a mirror, w i i e t h e r o r not you a r e
p h o t o g r a p h i n g reflections.
On t h e following p a g e s a r e s o m e e x a m p l e s of the c r e a t i v e
u s e of reflections, t h e p r o b l e m s t h e y p o s e and t h e solutions.

C o n c e a l i n g t h e c a m e r a can seen in the picture. It took

be a problem when the frame is
full of mirror images. This
staircase in the Barbican
Centre in London is a mass of
mirrors that produces a
kaleidoscope of color.
Photograpliing it presents a real
challenge for the thinking
photographer. WHERE? in this
instance is not the location of
the subject but the position of
the camera so that it cannot be
many trials to find the only
place where the reflection of
the camera was blocked by the
cross-rail, but this spot did not
coincide with the best camera
angle. In the end, a
compromise was made: the
camera and photographer are
just visible in the bottom right
of the frame but their presence
is minimized by the power of
this extremely busy image.
CREATING IMAGES

l i l i

T h e s t a n d a r d v i e w of the
castle in Disney World's Magic
Kingdom lacks atmosphere.
This frequently photographed
landmark has been pictured
"for the record" just as it has
millions of times before.

T h e m o o d is c h a n g e d
c o m p l e t e l y by viewing the
castle's reflection in the window
of the saloon on Main Street.
T h e soft-focus effect gives a
misty, almost ethereal
appearance to the castle,
especially in contrast to the
umbrellas of the pavement cafe
in the foreground. The clever
use of reflection here has
created a mood, rather than
merely recording a mirror
image of the scene.
M o d e m g l a s s b u i l d i n g s in
Washington DC offer the
photographer plenty of scope
for creative imagery. The
angled wall of reflecting panels
mirrors the street life of the
nation's capital in a fascinating
and exciting way.

An a b s t r a c t i m a g e is
achieved by closing in. By-
cropping out the surrounding
scene, this startling picture
gives a unique view. The
building itself clearly says
"progress" while the reflection
shows older buildings among
the trees.
OLD AND NEW

An i n t e r e s t i n g b u t o b v i o u s
v i e w of New York's high-rise
architecture, this picture shows
the old reflected in the new. It
is little more than a snapshot,
with no strong focal point and
too much surrounding detail
intruding into the image.

C l o s i n g in o n t h e g l a s s
p a n e l s of the new building
shows more detail of the old
architecture in the striking
reflections. This picture tells us
little about the new skyscraper,
however, and some of the
impact of the old against the
new is lost. There must be a
better angle.
C a p t u r i n g t h e w h o l e of the
skyscraper but retaining the
reflected image of the building
opposite, the thinking
photographer has successfully
brought together old and new
in a dramatic picture. By
shooting straight up at the new
building with its curved
elevation, the old-style
architecture is still clearly
reflected in the lower panels of
the skyscraper, while the whole
of the new building makes
impressive viewing. The street
lamp shows that the camera
was at ground level. It is not
easy to get the exposure right
in a situation such as this and
the photographer must decide
what his priorities in the image
are. In this instance, it was felt
that perfect exposure for the
reflections compensated for the
slight flare resulting from the
overexposure of the sky.
Indeed, the haziness at the top
of the skyscraper actually
enhances the building by
emphasizing its height.
KKILKCTIONS

ELIMINATION TECHNIQUES
T h e e y e c a n ignore reflections, but the c a m e r a cannot.
Eliminating u n w a n t e d reflections n e e d s a little thought. T a k e
a m a n w e a r i n g glasses. If you w e r e to p h o t o g r a p h him h e a d - o n
with a flash on o r n e a r the c a m e r a , t h e glass will act like a
m i r r o r and reflect light back into the lens. T h u s you should
c h a n g e t h e angle s o t h e light c o m e s f r o m t h e side o r f r o m
a b o v e to avoid problem reflections.
P h o t o g r a p h i n g through a window also p r o d u c e s reflections
if you a r e not careful. Put t h e lens close t o the g l a s s and shield
it with a d a r k cloth. A polarizing filter is useful for eliminating
reflections in w i n d o w s o r car windshields. By rotating it slow-
ly, t h e image of the reflection will b e minimized or disappear,
d e p e n d i n g on t h e angle at which you a r e facing t h e s u r f a c e .
T h e basic rule is to t r e a t all glass as if it w e r e a m i r r o r . If you
cannot s e e a reflection t h r o u g h t h e lens, t h e r e will not b e o n e
in t h e picture. S o S T O P ! T H I N K ! and look b e f o r e you s h o o t .

P i n p o i n t r e f l e c t i o n s in through glass, which has front of the subject eliminated,

g l a s s e s result from a double reflected light back on to the the side lighting cuts across the
reflection of the light. The light eyeglasses, there is still the surface of the eyeglasses,
here is, correctly, coming from original problem of head-on illuminating the eyes of author
the side, but by shooting lighting. With the glass pane in Len Deighton.

B e a u t i f u l s u n s e t s or
dramatic cloud formations seen
from aircraft windows often
tempt the photographer. But
the pictures may be
disappointing with unwanted
reflections creeping into them.
The solution to the problem is
to put the camera right up
against the window, either with
a rubber lens hood on it or
surrounded by dark clothing.
This will cut out reflections
through the double or multiple
layer of glass. This sunset over
Iceland was produced in this
way.
S h o p w i n d o w s highlight the
problem of angled reflections.
In the picture, a shopper
pauses by a window full of
distracting reflections of the
street opposite. A polarizing
filter was used to take the
photograph below, and this
time the camera can sec into
the shop quite clearly. A
polarizing filter is an extremely
useful accessory for the
photographer, not least
because of its ability to reduce
reflections in windows.
FOCUS ON BUILDINGS
P h o t o g r a p h i n g a building is like taking a p i c t u r e of a giant
still-life on location. Buildings d o not m o v e , which m a y s e e m
obvious, but m a n y p h o t o g r a p h e r s d o not appreciate the
implications of that fact. It m e a n s that you m u s t k e e p moving
t o find t h e right c a m e r a angle and lighting.
W H E R E ? you t a k e t h e p i c t u r e f r o m is all-important. Build-
ings a r e o f t e n s u r r o u n d e d by intrusive d e v e l o p m e n t s , s o you
m a y not b e able t o pick the ideal spot and g e t a clear view. You
m a y have to w o r k with only p a r t of t h e s t r u c t u r e \isible. A
choice of l e n s e s m a y b e an advantage, but ultimately the
positioning of t h e c a m e r a will b e the deciding factor. It m a y b e
n e c e s s a r y to get a v a n t a g e point f r o m a neighboring building
t o g e t the b e s t view, o r back off and s h o o t f r o m a distance.
S o m e t i m e s , s h o o t i n g straight up can b e effective.
W h e r e v e r you a r e , the w a y the light falls o n t h e building will
b e a n o t h e r important factor. In the end, you'll n e e d patience
a s well as photographic t e c h n i q u e to g e t t h e b e s t r e s u l t s .
W h e n p h o t o g r a p h i n g buildings, t h e r e f o r e , t a k e your time and
k e e p m o v i n g a r o u n d t h e subject, t o a s s e s s all potential view-
p o i n t s and c h a n g e s of light.

Moving t o t h e r i g h t and
turning the camera does little to
improve the picture. But
including the sunlit building at
A c o m m o n p l a c e v i e w of the the left of the frame should
square near the Plaza Hotel in provide a spark of inspiration
New York includes all the for the thinldng photographer.
elements of this popular spot, This building could be used in a
but it captures little of the city's much more creative way.
excitement and its impressive
and varied buildings.

Moving a r o u n d still f a r t h e r
and reverting to the vertical
format has dramatically
improved the view. The statue
is silhouetted against the
skyscraper. By exposing for
the brightly lit building, the
photographer has produced a
picture with a strong design of
light and shadow. But the
thinking photographer should
not be content even with this.
Moving r i g h t a r o u n d t h e
s t a t u e , the photographer
continues to use the
silhouetting technique, but the
background is now an ultra-
modern skyscraper, harshly lit
against a blue sky. The color of
the sky has been deepened by a
polarizing filter. The result is a
stark and powerful image that
illustrates the benefits of
lighting and exploring all angles
of view.
THE GIANT STILL-LIFE
T h e c o n v e n t i o n a l v i e w of
the EPCOT Center at Florida's
Disney World is from the
entrance to the park. It is easy
to be overwhelmed by this
magnificent dome, but it would
be a pity to settle for the one-
for-the-record type of picture
and not do greater justice to an
ambitious project.

D r a m a t i c l i g h t i n g on the The sky was, therefore, monorail to come along. He

dome is emphasized in this
picture by the effects of a
polarizing filter and exposing for
the highlights, where the sun
strikes the top of the building.
underexposed, creating a dark,
moody effect. Having found the
right angle and decided upon
the composition, the
photographer waited for the
exposed when it was starkly
outlined against the shadowy
part of the dome. 'Hie result is
a well-balanced, impressive
picture.
 FOCUS ON BUILDINGS

A n o t h e r f a m i l i a r i m a g e of
the EPCOT dome is across
flower beds, which are
beautifully maintained and full of
color. The effort required by a
ground-level view is often
rewarded by a fine picture.

An u n e x p e c t e d f o r e g r o u n d ,
bright with color, leads your
eye to the focal point of the
picture — the dome. By using a
low angle, the photographer
has hidden most visitors, giving
the impression that this is an
exclusive view of EPCOT.
There is a good sense of
perspective, which again helps
focus attention on the dome.
T h e vertical format means
there is less empty sky than
there would have been with a
horizontal format.
LOCATION SHOTS
T a k i n g p i c t u r e s of a t o w n — w h e t h e r y o u k n o w it well o r a r e
just visiting — is n o t a s e a s y a s you m i g h t t h i n k . T h e r e is r a r e l y
a stunning view around e v e n ' corner, so before you start you
m u s t pinpoint t h e a r c h i t e c t u r a l s t y l e s or t h e i n t e r e s t i n g d e t a i l s
that c o n v e y t h e f e e l of t h e place.
You will s e l d o m find a n e l e v a t e d v a n t a g e point e x a c t l y
w h e r e you w a n t it t o g i v e an overall v i e w . F o r i n s t a n c e , S a g
H a r b o r , an old whaling p o r t o n L o n g Island, is an a t t r a c t i v e
t o w n , but t h e r e is n o high g r o u n d f r o m which you can g e t a
g o o d p i c t u r e . E v e n if t h e r e w e r e , l a r g e n u m b e r s of o v e r h e a d
p o w e r c a b l e s would spoil t h e v i e w . T h e p i c t u r e s q u e buildings
must, therefore, b e photographed close-up.
T o d o this, you m u s t walk and look. You will u n d o u b t e d l y
m i s s t h e m o s t i n t e r e s t i n g p l a c e s if you d r i v e a r o u n d in a car.
K e e p y o u r e y e s o p e n f o r t h e u n u s u a l a n d b e p r e p a r e d t o find
a p i c t u r e w h e r e y o u l e a s t e x p e c t it.
B y following t h e s e f e w s i m p l e guidelines, y o u s h o u l d e n d up
w i t h a s e r i e s of p h o t o g r a p h s that a d m i r a b l y c a p t u r e s t h e
c h a r a c t e r of t h e t o w n .

A g e n e r a l v i e w of tht? main
street in Sag Harbor is not very
interesting. T r e e s conceal the
buildings and unsightly
overhead cables dominate the
scene. On the face of it. this
would s e e m a difficult subject to
photograph, but thinking in
close-up is the key. Set off on STOP! THINK:
foot, looking out for the unusual Look out for
angle. angles

S h a p e s a n d s h a d o w s make
this a graphic study of a flight of
steps leading to a porch. T h e
colorful tulips in the spring
sunshine and the texture of the
wood are good finishing
touches. This is not in itself a
portrait of the town, but the
character of the wooden
buildings in the old port is
established.
PORTRAIT OF A TOWN/1

T h e while railings,
photographed from the corner,
create a powerful frame for the
old clapboard house on Main
Street. By moving in close, the
photographer eliminates the
power cables. The light is flat,
but the wooden planks
throughout the image give it a
graphic quality.

STOP! THINK!
Look f o r
color
LOCATION SHOTS

PORTRAIT OF A TOWN/2

S p r i n g is a c o l o r f u l t i m e ,
and you should take advantage
of it. This spacious, well-tended
garden creates an impression of
affluence and. although the
image is dominated by trees
and shrubs, the period feeling is
retained by the inclusion of the
porch at left. Expose this type
of scene carefully. If you
expose for the more shadowy
parts of the garden, the
highlights will lose their detail
by burning out.

I s o l a t e s o m e c o l o r by taking
part of the house in close-up.
The shutters and plants help
convey the feeling of a well-
maintained part of town. An
overall view of the house was
not possible, but a close-up
clearly shows the character of
this house in Sag Harbor.
 H i d e u n s i g h t l y o b j e c t s by
creating a frame for the
picture. Above, the branch
covers ugly cables, while the
STOP! THINK! fence adds interest in the
Frame your foreground. STOP! THINK!
pictures Below, a view of the whaling Look for the
museum uses the barred gate abstract
to cut out a boring expanse of
roadway and focus on the
building. T h e top bar conceals
overhead cables.
PORTRAIT OF A TOWN/3
S p o t t i n g t h e u n u s u a l as you
walk through a town can
provide pictures of the less
obvious aspects of town life.
Here, a dressmaker's dummy
stands in the porch of a clothing
shop. The exposure was for
highlights on the dress, so the
picture is tightly framed by
strong shadows. There is an
almost abstract quality about
the photograph, yet at the
same time it gives the viewer
an impression of the town.

M a k e a record for posterity

with your pictures. Everybody
loves to look at old street
or shop signs, but they
are becoming rare. The
window sign of the Main
Street tavern shows Sag
Harbor has not given up all its
old-world charm. Photograph
such things when you see
them. They may not be there
much longer.
>
L i f e in S a g H a r b o r is
summed up in this picture,
perhaps more than in any
other. It is a strongly composed
image that clearly says,
"peaceful, small-town America."
This scene, too, was spotted as
the photographer wandered
around the back streets of the
town. A simple close view says
it all — clapboard houses with
neatly cultivated gardens. The
tulips balance the bright colors
of the flag, and both contrast
with the dark rocking chairs.
The impression gained from
tills graphic shot is just as
telling as it would be from a
larger photograph of the whole
town.
A QUESTION OF SCALE
It is o f t e n difficult to g e t an idea of the size of o b j e c t s in a
p h o t o g r a p h u n l e s s t h e r e is a familiar r e f e r e n c e point. P e o p l e
a r e t h e m o s t obvious points of r e f e r e n c e . T o s e e a p e r s o n
standing b y a large building, f o r example, gives the v i e w e r a
good idea of just h o w big it is.
With smaller objects, and in c l o s e - u p photography, t h e r e
a r e o t h e r p r o p s you c a n u s e to s h o w scale: books, t e l e p h o n e s ,
m a t c h e s and coins a r e e v e r y d a y items, t h e size of which
everybody knows. Put alongside t h e object to b e
p h o t o g r a p h e d , t h e v i e w e r can appreciate t h e relative sizes and
g e t a s e n s e of scale that might o t h e r w i s e b e missing.
T h e r e are many i n s t a n c e s in p h o t o g r a p h y w h e n the scale of
t h e s u b j e c t m a t t e r ought to b e m a d e clear but is not; this is a
f r e q u e n t omission on t h e p a r t of a m a t e u r and professional
p h o t o g r a p h e r s alike. H e r e a r e s o m e e x a m p l e s of h o w b e s t t o
give an idea of scale.

Many visitors to t h e
L i n c o l n M e m o r i a l in
Washington DC are faced with
the dilemma of how to show the
whole monument, as well as
family or friends. This picture is
the all-too-frequent result. To
include all of the building, the
photographer has backed off so
far that the person on the steps
is reduced to a tiny,
unrecognizable figure. This is a
common problem when you
want to record a "being there"
photograph.

T h e key is the movable

" o b j e c t . " Both the
photographer and the young
lady are movable, but the
photographer is in the right
place, so the subject must
come nearer to the camera. An
auto-focus camera was used,
with a flash to soften the harsh,
midday sunlight on the face.
P i c t u r e s of t h e p r e h i s t o r i c
s t a n d i n g s t o n e s at
Stonehenge in England rarely
do justice to this massive
monument. The introduction of
the figure of author Richard
Adams — photographed in
connection with his book Main
— gives the viewer a clue to
the size of the structure. The
standing stones serve a double
purpose: they provide a
suitable setting, reflecting the
ancient, mythological nature of
the book, and they make a
powerful frame for the figure in
this impressive portrait. The
vertical format of the picture
mirrors the shape of the
stones.
INTRODUCING FIGURES
The building on t h e island
gives some idea of scale, but
this picture lacks a focal point,
which would make the shot
much better. The location is
Burgh Island, off the south
coast of England, here
photographed on a gray day at
high tide. T h e result is a large
expanse of water, with nothing
to direct your eye to any
particular point.

T h e i n t r o d u c t i o n of a f i g u r e
i n t o a l a n d s c a p e adds depth
as well as scale. The galloping
horse and rider also provide a
point of interest, transforming a
straightforward view into an
interesting picture. Calmer
weather and the expanse of
wet, reflective sand at low tide
set off the rider, and the late
afternoon light also improves
the shot. All these factors have
a bearing on each other.
S c a l e is p u t t o a d i f f e r e n t
u s e in this picture taken off the
island of Crete in the
Mediterranean. The feeling of
"getting away from it all" is
emphasized by the figures
being small and "lost" in an
expanse of ocean. This
was achieved by shooting the
picture from the top of a cliff
and deliberately tilling the entire
frame with ocean. The figures
give a clear idea of the depth of
the water, and the picture
creates a lovely feeling of
warmth. This could be almost
anywhere in the world — a
timeless travel shot.
THE DRAMATIC PORTRAIT

In portraiture, scale can be

u s e d to dramatic effect,
although an approach such as
this might not immediately
spring to mind. This was a
professional assignment —
to photograph the chief
executive of a ship-repairing
company — and it seemed a
good idea to photograph the
man "in the dock." T h e dry-
dock was completely empty,
which emphasized its vastness.

P o s i n g t h e m a n at t h e
b o t t o m of t h e d o c k on the
pier that supports the ship's
keel created a wonderful sense
of scale. The picture has been
cropped to eliminate most of
the dock walls, giving a stark,
grapliic quality to this portrait.
The symmetry works to the
same effect.
THE SILHOUETTE
S i l h o u e t t e s a r e g r e a t mood e n h a n c e r s . W h e t h e r s h o t o n color
or black-and-white film, t h e y give a p h o t o g r a p h a s t a r k ,
graphic quality. T h e y a r e usually a c h i e v e d by e x p o s i n g for t h e
background to minimize detail in the f o r e g r o u n d subject.
By s t o p p i n g t h e lens right down, night s c e n e s c a n be
a c h i e v e d at midday, with the s u n taking on t h e a p p e a r a n c e of
a bright m o o n . A c c u r a t e focusing is important, also, to give
clean, s h a r p e d g e s t o t h e subject.
Look for s u b j e c t s to t a k e in silhouette. C o n t e n d e r s will be
t h o s e in which lack of detail will e m p h a s i z e mood, and w h e r e
the outlines a r e s t r o n g and s t a r k . It is w o r t h e x p e r i m e n t i n g
with this m e t h o d of producing p i c t u r e s with a p o w e r f u l visual
impact, b u t b e discriminating in using the technique.

A c l u m p of r e e d s by a l a k e
is not immediately inspiring
unless the reeds can be
silhouetted dramatically against
the backdrop of the sky.

E x p o s u r e is the deciding
f a c t o r with this day-for-night
effect. The photographer
exposed for the bright evening
sun, thus throwing the reeds
into sharp relief. Exposure was
judged to accommodate the
reflections, and the lens
focused on the reeds. A fast
shutter speed was used.
T h e u s e of n a t u r a l
s i l h o u e t t e s makes an
interesting landscape out of an
ordinary scene. Here the
picture was not shot directly
into the light, so the sky is still
blue. By exposing for the
highlights on the tree, the sky
is darkened by underexposure,
and the cows are in silhouette.
Accurate exposure is important
to keep detail in color areas.
The splendid antlers of these
Scottish highland deer cried out
for a silhouette shot. Food
enticed them into the frame.
VARYING THE TECHNIQUE
A s e n s e of t i m e l e s s n e s s is
emphasized in this picture by
the silhouette technique. The
subject's grandfather used the
same plate camera to
photograph the sea and
shipwrecks. Here, he and the
camera, with its old wooden
tripod, merge, silhouetted
against the sky. The exposure
was for the seascape, and the
outline of the subject was
sharply in focus.

In t h i s s h o t , t h e s h a p e s
a r e self-contained. The
outlines of the silhouette are
clean and sharp. The subject is
standing back from the camera
and is viewed from a different
angle, with the undulating line
of the rocks set against the
sky. Although the sea is not
visible, the rocks suggest it is
not far away.
T h e p l a y f u l mood of t h i s
y o u n g boy is beautifully
captured in the warm evening
light off Key West, Florida, by
means of the silhouette
technique. The ghostly, out-of-
focus figures on the pier
contribute to the abstract
quality of the image. They do
not intrude into the picture but
help to fill the empty skyline,
thanks to a 500mm lens and a
shallow depth of field.
CREATING A MOOD
The unexpected silhouette,
especially if the subject is set
against an unusual backdrop,
can provide a striking image. A
woman driving a jeep down Sag
Harbor main street on Long
Island, New York, caught the
photographer's eye. The
woman stood out in stark relief
against white garage doors.
Her semi-profile is emphasized
by the outline of her glasses.
The open-top vehicle adds
interest.
This lone fisherman is not
a n o b v i o u s c a n d i d a t e for an
exciting image. There is no
action, the shoreline is
undistinguished and the lighting
ordinary.
A sparkling background
transforms the picture.
Closing in on the subject with a
telephoto lens and shooting
straight into the reflected light
on the water's surface produces
a photograph with enormous
impact. T h e exposure was
carefully made to give minimum
detail in the fisherman's face
and arms. The photographer
then had to wait for a little bit
of action as the rod was cast.
The resulting picture was a
powerful study in
concentration.
GLAMOUR PHOTOGRAPHY
F a s h i o n o r " b e a u t y " p h o t o g r a p h y is a skilled and specialized
b u s i n e s s . Model, m a k e - u p , hair, c l o t h e s and location all
c o n t r i b u t e t o w a r d c r e a t i n g t h e mood of t h e picture. T h e
photographic technique e m p l o y e d and t h e lighting, w h e t h e r in
t h e controlled e n v i r o n m e n t of a studio o r on location, m u s t b e
carefully planned. T h i s is t h e realm of t h e professional
p h o t o g r a p h e r , but t h e thinking a m a t e u r can g e t s o m e e x -
cellent r e s u l t s too b y thinking t h e s h o o t t h r o u g h in detail.
As an e x a m p l e , 1 have c h o s e n an o u t d o o r s e t t i n g f o r a
"glamour p h o t o g r a p h y " s e s s i o n : a m o d e l on a beach. Con-
ditions are rarely ideal. You m a y lack the p e r f e c t location or t h e
w o m a n of y o u r d r e a m s . And this is only t h e beginning.
T h e n e x t stumbling block could be t h e beach itself. B e a c h e s
in a d s and m a g a z i n e s always look s m o o t h , clean and inviting,
but in reality this is s o m e t i m e s not t h e case. It t a k e s a lot of
thought and ingenuity to conceal bad b a c k g r o u n d s . Second,
you a r e unlikely t o b e w o r k i n g with a highly paid, e x p e r i e n c e d
model. T h e subject m a y b e a relative or the "girl n e x t d o o r . "
So h o w should you a p p r o a c h a b e a c h session? What a r e the
pitfalls? And h o w can you m a k e an inexperienced model look
g r e a t ? You m u s t not b e t o o ambitious. K e e p the situation as
simple a s possible and, m o s t important, c o n c e n t r a t e on relax-
ing y o u r subject. If s h e f e e l s at e a s e , t h e n you a r e half-way to
taking g r e a t p h o t o g r a p h s .
F o r this s t e p - b y - s t e p s e q u e n c e of pictures, I deliberately
c h o s e a s u b j e c t with no modeling e x p e r i e n c e and a beach that,
although s p a c i o u s e n o u g h to give s o m e privacy, w a s far f r o m
p e r f e c t . T h i s is the situation y o u a r e m o s t likely t o face, e i t h e r
o n vacation o r if you wish t o t r y your hand at glamour
photography.

Y o u r f i r s t t h o u g h t may be to
take the model to the water's
edge, stand with the sun high
behind the camera and take a
picture at eye level. When you
s e e the result, you may wonder
what went wrong.

— >

T h i s c l u m s y p o s e is a typical Correct the model's

result. Everything about this p o s i t i o n by lowering the
picture is wrong: the subject is camera angle and turning her so
standing awkwardly and does she is back-lit and you are
not know what to do with her shooting into the sun. T h e sea
hands; she is squinting into the is now behind her, which
sun; and the camera is looking improves the background.
slightly down at her, which is
unflattering. T h e shoreline cuts
through her head, and the
beach is a mess. Many holiday
pictures turn out just like this.
 ON THE BEACH/1

STOP! THINK!
Try a different pose

T u r n i n g h e r body slightly
away from the camera has a
slimming effect. With one hand
on her head, the outline of her
body is now clear. She is
standing on her toes, which
improves the leg line. It is
difficult, however, for an
inexperienced model to cope
with all the elements of a full-
length shot. And the beach is
still messy.

C r o p p i n g t h e p o s e to the
thighs means that the subject
has to stand in a less awkward
position, and the extent of the
beach is reduced. Hands can be
a problem: an inexperienced
model does not know what to
do with them, and an amateur
photographer does not know
what to suggest. By placing her
hands on or behind her head,
the model clears the body line
and, by tilting the upper part of
her body, gives a cun-e to the
waistline. Watch for wrinkles
around the waist if she bends
too far. This is one of several
"fail-safe" poses used by
photographers everywhere.
 Explore new camera angles
and a different position.
Sitting or kneeling is
more relaxed than standing.
Here the model is moved
nearer the water and a low
camera angle is used.
STOP! THINK! S l i g h t o v e r e x p o s u r e of t h e
Vary the exposure s k i n is necessary to make it
look smooth and flawless. If
you are shooting into the light,
judging the exposure for skin
tones can be tricky. It is best to
bracket.

T o o f a r f o r w a r d . This
viewpoint does not flatter the
legs which appear
disproportionately large. With
this pose, the model should
point the toes and sit tall so
that her body stretches out
smoothly. The hand on the
head helps the body outline.

T o o f a r b e h i n d . The legs are

shortened, while the hand on
the sand looks too large. It is - i - - - -
worth trying different camera
positions, but in this instance
neither the three-quarter front
nor the rear approach adds
anything to the picture or
flatters the model.
Exposing for the highlights,
when the sun is shining on the STOP! THINK!
sea, will render skin tones dark Try another
and muddy. You may have to background
burn out the highlights, but the
atmosphere of the seaside
setting will be retained.

Kneeling is an attractive
p o s i t i o n for the model to
adopt. The golden rules of
posing also apply here. Always
make her point her toes and
stretch the body for maximum
length. Unfortunately her hair is
beginning to look a little untidy,
and, pleasant though the
photograph is, the background
could be improved greatly.
 STOP! THINK!
Return to a
sitting position

G r a s s a n d s a n d add
d i f f e r e n t t e x t u r e s and. with a
high camera angle, can be used
to frame the model. Moving her
away from the water has
provided a more interesting
composition.

B e w a r e of t h e s u n o n t h e
m o d e l ' s f a c e . Although the
camera angle is good, the
lighting is patchy, with streaks
of sunlight over half the face.
The pose is relaxed and the
picture well framed, but it lacks
impact.

Sitting the model higher up

in t h e d u n e s and maintaining
the vertical format have
produced the start of a good
— >
photograph. The grasses are
K n e e l i n g in t h e w r o n g well placed behind the subject,
p o s i t i o n can be disastrous. but the lighting is patchy and
Avoid the cut-off look. T h e legs her legs are awkwardly posed.
look thick and awkward. A too- In addition, the model's hands
high camera angle and harsh look awkward.
lighting combine to make the
model's figure look
unattractive. This is the
kneeling equivalent of the first
picture in the series.
 STOP! THINK!
Go for bolder images

T i g h t e n u p t h e p o s e by
swinging the legs around and
carefully balancing the position
of the hands. One hand can now
be used to hold back her hair.
By turning, the model has even
lighting on her face. Although
the photographer is shooting
into the sun, this is a much
more elegant and relaxed pose,
helped by the sitting tall
position. This relaxed pose
mirrors the tall, sweeping
grasses, but a bolder image still
is possible.
ON THE BEACH/4
R e f l e c t l i g h t b a c k off t h e
s a n d onto the model, hi this
instance, a beach towel was
used. Here the model is posed
on top of tlie dunes in a small
clearing framed by dune
grasses. The photographer is
now shooting against the sky.
The clear sky emphasizes
t h e body s h a p e . Tight
cropping and the model's
closed eyes create a
feeling of luxurious warmth.
Her body is stretched to avoid
skin creases, so easily
overlooked with this pose.
All you need is a standard
lens and a beach towel.
W i t h a zoom l e n s , the
thinking photographer has made
a glamorous portrait. Although
he has ignored all the obvious
elements of the seaside, the
model's bikini gives a hint of
location. Shallow depth of field
has thrown the grass out of
focus. There is a feeling of
wind-blown freshness and
exliilaration, emphasized by the
model throwing back her head.
The hair is off her face, her
neck is stretched, and the soft
light is flattering.
NUDES
P h o t o g r a p h i n g t h e n u d e is probably the m o s t difficult f o r m of
p h o t o g r a p h y . It brings its o w n unique s e t of p r o b l e m s . M a n y
a p h o t o g r a p h e r h a s b e e n at a loss w h e n first e m b a r k i n g on a
n u d e p h o t o g r a p h y session, b u t t h e r e a r e a f e w basic guidelines
you can follow.
T h e first p r o b l e m could b e t h e model. Unlike a p h o t o g r a p h y
s e s s i o n on a beach, w h e r e y o u r model could b e a relative or
a friend, it is r a r e that an i n e x p e r i e n c e d model will relax suf-
ficiently for n u d e p h o t o g r a p h y . N e v e r t h e l e s s , it is e s s e n t i a l for
t h e p h o t o g r a p h e r to know t h e model: good communication
b e t w e e n t h e t w o is e x t r e m e l y i m p o r t a n t . T h e r e is a fine line
b e t w e e n a p i c t u r e that is tastefully e x e c u t e d and one that is
not.
U n l e s s t h e s e s s i o n is in a studio, privacy m a y also b e a
p r o b l e m . While many p e o p l e think nothing of t o p l e s s o r n u d e
sunbathing on s o m e r e s o r t b e a c h e s , it is quite a different
m a t t e r w h e n t h e r e is a c a m e r a p r e s e n t . You will, t h e r e f o r e ,
h a v e to c h o o s e a t i m e of day w h e n o t h e r p e o p l e a r e n o t around.
Planning is t h e key. C o n s i d e r t h e location well in advance
a n d allow yourself p l e n t y of time. N e v e r r u s h a session, and
s e t t l e f o r a f e w really good p h o t o g r a p h s r a t h e r than a lot of
average ones.

Nude p h o t o g r a p h y can be sand, provided a body for it and

h u m o r o u s . There is no reason an amusing companion for the
why photographer and model model.
should not have fun. This model
on a Tunisian beach had cast off
her bikini top for a spot of
peaceful sunbathing. The
matchstick man, drawn in the
T h e o u t l i n e of t h e b o d y is
beautiful in its stark simplicity.
T h e model was sunbathing on
the roof of her hotel,
silhouetted by a richly colored
African sunset. The curve of
the roof makes her look as if
she is stretched out over the
globe. A clear profile and a
good separation of legs and arm
make this an artistic, yet
simple, photograph. The
picture is timeless.
A VARIETY OF ANGLES
Nude photography does not
a l w a y s h a v e to b e p o s e d .
Candid moments can provide
good pictures. This model was
relaxing after a long photo
session, but the alert
photographer spotted a picture.
It is a natural, uncontrived pose
that would probably not have
been tried during the session.

Add a s i m p l e p r o p . Using a
designer hat transforms this
rear view of a nude on a
Tunisian beach into a striking
photograph. Strong sunlight
throws a stark shadow on the
sand and adds interest. Without
the hat, the picture would not
work, but the addition of this
one outrageous prop, together
with the graphic use of the
shadow, makes this a fascinating
study. The photographer has
resisted the temptation to crop
in close on the picture and has
used the space to good effect.
" W K

.Simple p r o p s m a k e t h i s
a g r e a t p i c t u r e . A yellow
turban and boldly patterned belt
are all that adorn the model's
naked body as she sits amid the
ruins of a castle. This was a
good subject in itself, but the
addition of the model's mirror,
cleverly placed so that she
could see the camera in it and
therefore appears to be looking
at the photographer, creates an
intimate feeling. Simplicity
was the rule here, but
the mirror not only fills an
empty space in the frame but
gives the picture much greater
impact.
PHOTOGRAPHING ANIMALS
Animal p h o t o g r a p h y i s s o m e t h i n g of a paradox. You m a y have
to wait for h o u r s to g e t the c h a n c e of a good picture, but once
t h e action begins, y o u r r e a c t i o n s m u s t b e lightning quick, o r
you will m i s s a fleeting c h a n c e .
W h e t h e r they a r e y o u r p e t s at h o m e , wild animals in t h e
c o u n t r y , or exotic c r e a t u r e s in z o o s or safari parks, animals
a r e a c o n s t a n t s o u r c e of photographic inspiration and chal-
lenge. P r o b l e m s will o c c u r if you do not a p p r e c i a t e the basic
and s e e m i n g l y obvious fact — animals do not p o s e for pictures.
You m u s t w a t c h for t h e right m o m e n t and exploit it w h e n it
o c c u r s . M a n y p h o t o g r a p h e r s have b e e n caught loading film
w h e n an animal decides to do s o m e t h i n g worth photographing
— and it rarely r e p e a t s t h e p e r f o r m a n c e .
S o w i t h animal p h o t o g r a p h y , you m u s t b e quick to focus,
quick to r e l e a s e the s h u t t e r , and quick to anticipate what might
h a p p e n n e x t . H e w h o h e s i t a t e s will lose a good picture. With
animals as s u b j e c t s , it is always w o r t h taking a f e w e x t r a
frames.
Occasionally you m a y b e able to control t h e situation in the
wild by using food to a t t r a c t an animal's attention. This is not
always d e s i r a b l e or e v e n safe, but it can s o m e t i m e s give you
a c h a n c e y o u would not o t h e r w i s e have. At z o o s , o r in p a r k s
w h e r e you a r e obliged t o k e e p c a r w i n d o w s closed, hold t h e
c a m e r a c l o s e t o the f e n c e o r g l a s s t o eliminate u n w a n t e d lines
o r reflections.
Although you should t r y t o g e t a s close a s possible, n e v e r
c r o s s s a f e t y f e n c e s without authorization. N o p i c t u r e is w o r t h
injury, and you will only s e t a bad e x a m p l e to o t h e r visitors.
Staff in zoos and p a r k s a r e usually s y m p a t h e t i c to a
p h o t o g r a p h e r ' s r e q u i r e m e n t s . If you are in doubt about w h e r e
you a r e p e r m i t t e d to go, ask t h e m .
Let p a t i e n c e b e y o u r rule, especially w h e n p h o t o g r a p h i n g
animals in t h e wild. You may feel you a r e waiting an e t e r n i t y ,
but the r e w a r d of a good wildlife picture will m a k e it w o r t h -
while. W h a t e v e r t h e animal o r t h e location, o n c e you h a v e
waited, quick w i t s and decisive action can give you s o m e g r e a t
pictures.

A lioness basking in t h e of focus. This splendid creature

a f t e r n o o n s u n provides a
majestic animal portrait. By-
using a wide aperture to limit
the depth of field and placing
the camera right against the
mesh fencing, the photographer
'eliminates' the fence. It is out
could, therefore, be anywhere:
in a zoo or on the African
savannah. A telephoto lens
would reduce the depth of field
even further and concentrate
attention on the lioness's head.
IN THE WILD
T h i s wolf w a s t a k e n at
c l o s e q u a r t e r s in a wildlife
park. It provided a chance to
take pictures without fencing
getting in the way. In such a
situation, you must obey
notices and the instructions of
staff. It is useful to have at
least one person with you to
spot other animals and to watch
out for danger.
M i r r o r t h e s u b j e c t in t h e
b a c k g r o u n d . This blue heron
wading in the shallows off the
Florida Keys was photographed
at water level with a 500mm
lens. The background is well
out of focus, but the aerial
roots of the mangrove tree are
visible. They mirror the bird's
long neck. The heron's color,
too, is reflected in the water. In
this way the bird appears at one
with its surroundings.

M a k i n g s o m e t h i n g o u t of
n o t h i n g is possible with a little
imagination. With its clever
camouflage, tliis gecko on a
screen door at Lion Country
Safari in Florida was almost
invisible from the outside. But
the thinking photographer went
inside the building and, with the
camera close to the mesh,
created an interesting
silhouette of the tiny creature.
This is one way to photograph
colorless or small animals
successfully.
Wait f o r t h e a c t i o n , hi this
instance, the photographer
waited until the seagull called to
its mate, then reacted swiftly,
transforming a still-life into a
lively study. You must be
patient when photographing
animals. It is necessary, to turn
an ordinary, static picture into
one that captures the nature of
the beast.
PICTURES THAT DON'T EXIST
W e h a v e all s e e n t h e p i c t u r e s that don't exist — t h e full
m o o n o v e r s u c h - a n d - s u c h a place that you s u s p e c t w a s r a t h e r
m o r e than a coincidence. O r t h e b i z a r r e f a n t a s y image that you
a r e certain w a s a p r o d u c t of the p h o t o g r a p h e r ' s mind r a t h e r
than reality. C h e a t i n g this m a y be, but is it not the logical
conclusion of t h e thinking p h o t o g r a p h e r ' s c r e a t i v e imagina-
tion?
Such p i c t u r e s a r e not m e r e l y t h e r e s u l t of t h e c a m e r a s e e i n g
things differently f r o m the naked e y e , o r t h e behavior of t h e
film altering the w a y a s c e n e a p p e a r s . P i c t u r e s that d o n ' t exist
a r c c r e a t e d in m a n y different w a y s , s o m e t i m e s d u e to highly
specialized p r o c e s s e s . O t h e r images a r e far e a s i e r to p r o d u c e .
D o u b l e o r multiple e x p o s u r e is a c o m m o n technique, and t h e
sandwich t r a n s p a r e n c y is a n o t h e r . T o sandwich, put t w o o r
m o r e slides t o g e t h e r and r e - p h o t o g r a p h t h e m to p r o d u c e a
n e w picture.
You can do this t y p e of p h o t o g r a p h y t o g r e a t effect, but u s e
it sparingly. Quality, not quantity, is m o s t i m p o r t a n t .

A d d i n g t h e m o o n or sun can
break up a large expanse of sky
in a landscape shot. This night
view of the Berlin Wall shows
well the barrier between East
and West. T h e photographer
waited for an approaching bus,
the lights of which add interest
to the foreground, but there
was too much sky on this
moonless night. A bright full
moon a week later provided the
answer. T h e film of the Wall
was run through the camera
again, this time exposing for
the moon and locating it in the
top left-hand comer of the
picture. The two frames above
show the single component
images, while below is the new
double exposure — a much
more interesting picture.
S a n d w i c h i n g was used to lets you manipulate the
produce this dramatic picture of components of a picture to alter
a British Airways jet flying over scale and perspective.
New York. First, the plane was
photographed on its final
approach to Heathrow Airport
in London. Then, the urban
evening skyline was taken from
the Brooklyn side of the East
River in New York. The two
images were sandwiched
together and re-photographed
to produce the new image
shown here. This technique
THE HUMOROUS VIEW
A s e n s e of h u m o r is invaluable to any p h o t o g r a p h e r . W h e t h e r
you a r e c r e a t i n g a f u n n y picture by carefully controlling a situa-
tion or m e r e l y o b s e r v i n g s o m e h u m o r o u s facet of t h e life going
on a r o u n d you, c o n s i d e r y o u r unique position to r e c o r d such
m o m e n t s . Always b e on the lookout f o r the h u m o r o u s situa-
tions that h a p p e n e v e n ' day.
T h e s e c r e t of good h u m o r o u s p h o t o g r a p h y is planning and
anticipation, o r both. S o m e funny things j u s t happen, as s h o w n
on p a g e s 10 and 16. O t h e r s have to b e c r e a t e d f r o m an idea.
T h e a d v e n t of m o d e r n c a m e r a s p r o d u c e d a n e w b r e e d of
paparazzi p h o t o g r a p h e r s , who stalk the f a m o u s w h e r e v e r t h e y
m a y be. Photographic t e c h n i q u e is a l m o s t n o n - e x i s t e n t in
t h e s e i n s t a n c e s — t h e c a m e r a d o e s virtually all the w o r k —
but the o p e r a t o r m u s t h a v e t h e knack of being in t h e right place
at t h e right time (or w r o n g , d e p e n d i n g which e n d of t h e lens
you a r e on). T h e r e s u l t s can b e v e r y amusing, especially if t h e
s u b j e c t s a r e rich and famous, but t h e u n f o r t u n a t e victims m a y
not s h a r e t h e p h o t o g r a p h e r ' s s e n s e of humor. If you w a n t to
sell y o u r p i c t u r e s , you should m a k e s u r e t h e h u m o r is g e n t l e
and inoffensive.

U n i n t e n t i o n a l h u m o r can
often be the funniest. This
BMX bike champion had set up
his ramps near an empty lot to
practice his jumps. By careful
positioning, the photographer
was able to build a humorous
caption into the picture,
transforming an ordinary action
shot showing the rider's
advanced technique into a
photograph that can raise a
smile as well.

S p o t t i n g t h e f u n n y s i d e of
an everyday situation can
produce some great
photographs. Only top dogs are
exhibited at Cruft's Dog Show
in London, and for this lonely
labrador it was a long, cold wait
as his owner visited the show
to s e e some finer specimens.
There is gentle humor in this
photograph as well as a sharp
social comment on the British
attitude towards pets.
P e r h a p s t h e r e is n o f u n n i e r
s u b j e c t than photographers
themselves. Some will go to
any lengths to get the right
angle, and it can be a rewarding
exercise to observe other
photographers as they strive
for perfection. A collection of
pictures of photographers in
action holds a lesson for us all.
Techniques range from the
casual, one-handed approach to
the over-zealous enthusiast,
dripping with far too much
photographic "jewelry," in a
search for the elusive "big
one." All the equipment in the
world, however, is no good if
you cannot think a picture
through in the right way.
BLACK AND WHITE
M a n y photographic e x p e r t s a g r e e that t h e m o s t p o w e r f u l pic-
t u r e s a r e in black and white. W a r s and o t h e r h u m a n t r a g e d i e s
a r e classic i n s t a n c e s in which t h e impact of black and white
l e a v e s color floundering. In n e w s p a p e r s , of c o u r s e , black and
white is still the m e d i u m in which the p h o t o g r a p h e r m u s t work.
H o w e v e r , the v a s t majority of t o d a y ' s p h o t o g r a p h y is in
color. P h o t o g r a p h e r s c o n t e n d that it is much m o r e difficult to
w o r k in black a n d white, and it certainly d o e s r e q u i r e a dif-
f e r e n t a w a r e n e s s . C o n t r a s t i n g colors m a y m e r g e into t h e
s a m e t o n e s , and w o r k i n g in a negative m e d i u m gives t h e
p h o t o g r a p h e r different e x p o s u r e c o n s i d e r a t i o n s . With color
the g e n e r a l rule is " w h e n in doubt, u n d e r e x p o s e , " with black
and w h i t e t h e o p p o s i t e is t r u e .
T h e p h o t o g r a p h e r h a s much m o r e control o v e r t h e e n d
result with black and white. A print can b e w o r k e d o n in the
d a r k r o o m . Skies can b e printed in or held back, for e x a m p l e ,
and highlights can b e controlled by different p a p e r c o n t r a s t s .
T h e whole e x p o s u r e latitude is far wider with black and white
p h o t o g r a p h y , but this d o e s not e x c u s e bad t e c h n i q u e s .
If t h e advice is " k e e p it s i m p l e " in color, it is e v e n m o r e s o
in black a n d white. S u c h p h o t o g r a p h s a r e at their b e s t w h e n
graphically simple. T o n a l s e p a r a t i o n m u s t b e distinct. Al-
t h o u g h a g r e a t deal is possible in the d a r k r o o m , you shouldn't
rely totally o n d a r k r o o m t e c h n i q u e to salvage y o u r p h o t o s .

I MWmte

If y o u e v e r find y o u r s e l f end of the press line-up and

taking pictures alongside
professional photographers,
you may pick up some tips by
watching how they think ahead.
When President Reagan visited
Britain in June 1982, he was
invited to go riding with the
Queen at Windsor Castle.
There was a photo-call for the
world's press, but as the heads
of state sat astride their horses,
the scene looked posed and
lacking in atmosphere.
I remembered the President
riding into the sunset in his
movie days and could imagine
the couple moving off — into
the sunrise in this instance. So
1 took a chance and went to the
waited. It was a gamble, since a
"safety shot," the head-on view,
was not possible from there.
T h e Queen and the President
did move off in the right
direction, but with a party of
other riders. However, with a
long lens (300mm), there was a
brief moment when I could
exclude the other riders.
Because I used fast film, I could
use a fast shutter speed and
handhold the camera. The back
view is unmistakably that of the
Queen and the President of the
United States. A bit of quick
thinking and a little luck gave
me a fine photograph.
PRINTING EFFECTS
 A s k i l l e d p r i n t e r can make a
good photograph great. This
picture — part of a black and
white photo-essay on the decay
of British seaside resorts — is
a good example of tliis. It was
taken 011 England's east coast
and shows a beach-ride cart
looking for customers along the
deserted shore. T h e broken-
down pier beyond completes
the story.
The straight print from the
negative is shown below, but
on the left is the final result. A
more contrasty paper and
.S-r. T-'Jjte.si t : •- •••
. -
careful printing of the sky and
foreground create a picture
with eye-catching impact. One
simple image tells the whole
story of the sorry state of this
seaside town, and the printing
has given it a stark reality. T h e
photographer helped the printer
in tliis instance by using a red
filter. With black and white film,
the filter increases contrast by
making a blue sky much
blacker, while keeping the
clouds white.
THE GRAPHIC IMAGE
B l a c k a n d w h i t e film can
give a stark, graphic quality to
an image that is enhanced by
good, creative printing. Looking
for a lead picture for a photo-
essay on West Point Military'
Academy in the United States,
the photographer came across
this imposing statue framed by
an archway. This could just as
easily have been taken by a
tourist, however. What was
needed was a figure to set the
whole thing off. A marching
cadet came to the
photographer's rescue and
injected the required military
flavor. The right moment to
take the shot was when the
cadet was outlined against the
white stone of the statue's
base. There was time only for
one shot.
When the picture was
printed, detail in the archway
was eliminated by printing it to
a solid black. This made a
strong frame for the marching
soldier, focusing viewers'
attention on the action. The
human figure, dwarfed by the
statue, also gives a good sense
of scale.
 TECHNICAL
INFORMATION
If t h e approach to p h o t o g r a p h y d e s c r i b e d in this book had t o
b e s u m m e d up in t w o w o r d s , t h e y would b e S T O P ! T H I N K !
If you d o n o t s t o p b e f o r e you p r e s s the s h u t t e r r e l e a s e and
think clearly a b o u t t h e s u b j e c t you are going to photograph,
and h o w you are going t o do it, t h e e n s u i n g confusion will b e
t r a n s l a t e d on film as undistinguished pictures.
T h e point h a s b e e n m a d e m a n y t i m e s that t h e r e is n o n e e d
t o o w n sophisticated e q u i p m e n t in o r d e r to t a k e g r e a t
p h o t o g r a p h s . E v e n a simple c a m e r a can b e a c r e a t i v e tool in
t h e h a n d s of a thinking p h o t o g r a p h e r . F o r t h o s e who
a p p r e c i a t e t h e technical details, t h e r e follows a list that
includes the c a m e r a model (all w e r e Nikon), lens, e x p o s u r e and
m a k e of film u s e d f o r m o s t of the p i c t u r e s in this b o o k .
Nearly all p h o t o g r a p h i c s u b j e c t s a r e c o v e r e d h e r e , but t h e
s a m e r u l e s apply f o r t h o s e that have b e e n omitted. A n s w e r
t h e six k e y q u e s t i o n s b e f o r e you s e t out, and S T O P ! and
T H I N K ! b e f o r e you s h o o t . Nothing is impossible, but really
g r e a t p h o t o g r a p h s m a y t a k e j u s t a little m o r e time and thought.
All t h e p h o t o g r a p h s in this book w e r e t a k e n with Nikon e q u i p m e n t . T h e main p i c t u r e on a page is indicated b y an a s t e r i s k (*).
T h e positions of o t h e r p i c t u r e s o n a page a r e detailed w h e r e relevant; o t h e r w i s e , information applies t o all p i c t u r e s on a page.

PAGE CAMERA LENS FILM EXPOSURE

MODEL

Jacket front F3 15mm Kodachrome 64 1/250 sec, /-8

8-9* F3 500mm Ektachrome 64 1/125 sec, /-8

10-11* F3 55mm macro Tri-X 1/125 sec, /-4

12-13* F3 50mm Ektachrome 64 4 sees, / - l l

14-15* F3 80-200mm zoom Kodachrome 64 1/500 sec, / - l l

16-17* FM2 80-200mm zoom Fuji 100 1/250 sec, /-5.6

18-19* F3 6mm fisheye Kodachrome 64 1 sec, /-8

20-21 FTN 200mm Tri-X 1/250 sec, /-5.6

Nikkormat

22 (iabove) F3 35mm Ektachrome 64 1/60 sec, / - 8

(below) F3 35mm Ektachrome 64 1/125 sec, / - l l

23 F3 500mm Kodachrome 64 1/500 sec, /-8

24 F3 24mm Kodachrome 64 20 sees, / - l l

25 F3 500mm Kodachrome 64 2 mins, / - 8

26 (above) FM2 24mm Kodachrome 64 1/2000 sec, / - l l

(below) F3 300mm Ektachrome 64 1/500 sec, /-8

27 F3 105mm Kodachrome 64 1/125 sec, /-4

28-29 F3 15mm Tri-X 1/60 sec, /-5.6

30 FM2 55mm 3M 1000 1/250 sec, /-5.6

31 FM2 55mm Fuji 100 1/125 sec, /-4

32-33* FM2 55mm Fuji 400 1/15 sec, /-8

34-35* FM2 55mm Ilford XP1 1/125 sec, /-5.6

36-37 FM2 55mm Fuji 100 1/60 sec, f-4

38-39* FM2 55mm Fuji 400 1/250 sec, /-2.8

40-41 FM2 55mm Ektachrome 64 open shutter, /-5.6

42 (above) FM2 55mm Ektachrome 64 1/250 sec, f-4

(below left) FM2 55mm Fuji 100 1/125 sec, f-4
(below right) FM2 55mm Tri-X Electronic flash, /-16
PAGE CAMERA LENS FILM EXPOSURE
MODEL

43 (above) FM2 55mm Ilford XP1 Electronic flash, /-22

(below) FM2 55mm Ektachrome 64 Electronic flash, /-5.6

44 FM2 35mm Tri-X 1/30 sec, /-5.6

45 FM2 35mm Fuji 100 1/125 sec, /-5.6

46-47 FM2 105mm Fuji 50 Electronic flash, / - l l

48 (above and FM2 35mm Fuji 100 1/125 sec, /-5.6

below left)
(below right) FM2 300mm Fuji 100 1/125 sec, /-5.6

49 (above) FM2 300mm Fuji 100 1/125 sec, /-5.6

(below) FM2 105mm Fuji 100 1/125 sec, / - 5 . 6

50-51* FM2 55mm Ektachrome 64 1/500 sec, / - 8

52-55 FM2 55mm Ektachrome 64 1/250 sec, / - 4 . 5

56-57* FM2 105mm Fuji 100 1/125 sec, / - 5 . 6

58-62 F3 55mm Fuji 100 1/30 sec, /-5.6

63* F3 55mm 3M 1000 1/125 sec, /-5.6

64-65 FM2 80-200mm zoom Kodachrome 64 1/250 sec, /-8

66 (left) F3 35mm Fuji 100 Electronic flash. /-8

(right) F3 35mm Fuji 100 Electronic flash, /-5.6

67 (above) F3 35mm Fuji 100 1/250 sec, / - l l

(below) F3 35mm Fuji 100 Electronic flash, /-8

68* F3 105mm Fuji 100 1/500 sec, /-4

69* F3 55mm Fuji 100 1/125 sec, /-5.6

70 (above and F3 80-200mm zoom Fuji 100 1/250 sec, /-4.5

center)

70 (below) F3 105mm Fuji 100 1/500 sec, /-4

71 (above) F3 105mm Fuji 100 1/60 sec, f-4

(below left) F3 105mm Fuji 100 1/125 sec, /-5.6
(below right) F3 35mm Fuji 100 1/125 sec, /-5.6

72-73 (above) F3 80-200mm zoom Fuji 100 1/125 sec, /-4.5

(below) F3 105mm Fuji 100 1/250 sec, /-4

74 F3 300mm Fuji 100 1/250 sec, /-5.6

75 (above) F3 300mm Fuji 100 1/250 sec, /-5.6

(below left) F3 200mm Fuji 100 1/250 sec, /-5.6
(below right) F3 24mm Fuji 100 1/500 sec, / - l l

76* F3 300mm Fuji 100 1/250 sec, /-4.5

77 (above) F3 80-200mm zoom Fuji 100 1/250 sec, /-5.6

(below) F3 200mm Fuji 100 1/250 sec, /-4.5
PAGE CAMERA LENS FILM EXPOSURE
MODEL

78 (<above and F3 300mm Fuji 100 1/250 sec, /-5.6

below left)
(below right) F3 200mm Fuji 100 1/250 sec, /-8

79 (above) F3 105mm Fuji 100 1/125 sec, /-4

(below) F3 80-200mm zoom Fuji 100 1/250 sec, /-5.6

80-81* FM2 55mm Fuji 100 Electronic flash, /-8

82-83* FM2 80-200mm zoom Fuji 100 1/250 sec, /-5.6

84 (above) FM2 105mm Fuji 400 1/125 sec, / - 2 . 8

(below) FM2 55mm Fuji 100 1/125 sec, / - 5 . 6

85 (above) FM2 55mm macro Fuji 100 1/125 sec, f-4

(below) FM2 55mm Fuji 100 Electronic flash, /-8, with filter

86-87* FM2 80-200mm zoom Kodachrome 64 1/60 sec, /-8

88-89 FM2 105mm Fuji 100 Electronic flash, /-5.6,

then 2 sees at /-8

90-91 F3 300mm Fuji 100 1/500 sec, / - 5 . 6

92-93 FM2 35mm Fuji 100 Electronic flash, / - l l

95 (above left F3 300mm Fuji 100 1/500 sec, /-8

and right)
(below) F3 200mm Fuji 100 1/250 sec, f-S

96-97 (above)* F3 500mm mirror Fuji 100 1/2000 sec, /-8

(below)* F3 105mm Fuji 100 1/8 sec, /-22

98 F3 300mm Fuji 100 1/500 sec, /-4.5

99 F3 80-200mm zoom Fuji 100 1/15 sec, /-16

100-101* F3 15mm Fuji 100 1/500 sec, f-S

102-103 F3 55mm Kodachrome 64 1/2 sec, f-S

104 F3 180mm Kodachrome 64 1/15 sec, /-16

105 (above) F3 200mm Kodachrome 64 1/250 sec, f-4 \ with polarizing

(below) F3 200mm Kodachrome 64 1/4 sec, /-32 J fflto

F3 80-200mm zoom Kodaclirome 64 1/250 sec, /-4.5

•—-

III

F3 80-200mm zoom Kodachrome 64 10 sees, / - l l

F3 80-200mm zoom Kodachrome 64 Electronic flash, f-S

107 F3 80-200mm zoom Kodachrome 64 1/15 sec, /-5.6, during zoom

108-109 F3 24mm Fuji 50 4 sees, f-S

110* FM2 35mm Kodachrome 64 1/125 sec, f-S

111* FM2 200mm Kodachrome 64 1/250 sec, f-4

112* FM2 200mm Kodachrome 64 1/250 sec, / - 5 . 6

113* FM2 55mm Kodaclirome 64 1/125 sec, / - l l

PAGE CAMERA LENS FILM EXPOSURE
MODEL

114 (above) FM2 35mm Kodachrome 64 1/125 sec, /-8

(below) FM2 35mm Kodachrome 64 1/250 sec. /-8

115 FM2 55mm Kodachrome 64 1/250 sec, /-5.6

116 (above) FM2 80-200mm zoom Kodachrome 64 1/60 sec, /-8

117 FM2 80-200mm zoom Kodachrome 64 1/30 sec, /-5.6 with polarizing
filter

118-119 FM2 105mm Fuji 50 1/15 sec, /-5.6

119 (above) FM2 105mm Fuji 50 1/4 sec, /-5.6

120 (above) FM2 105mm Fuji 50 1/125 s e c , / - 5 . 6

(below) FM2 105mm Fuji 50 1/250 sec, /-8

121 (above) FM2 105mm Fuji 50 1/250 sec, /-8

(below) FM2 105mm Fuji 50 1/500 sec, /-8

122-123* F3 35mm Kodachrome 64 1/500 sec, / - l l

124 (above) F3 200mm Kodachrome 64 1/125 sec, /-8

(below left) F3 35mm Kodachrome 64 1/60 sec, /-5.6

125 (above) F3 35mm Kodachrome 64 1/125 sec, /-5.6

(below) F3 105mm Kodachrome 64 1/250 sec, /-5.6

126-127 F3 15mm Kodachrome 64 1/8 sec, /-8

128* FM2 55mm Kodachrome 64 1/60 sec, /-5.6

129 F3 80-200mm zoom Fuji 100 1/250 sec, /-8

130-131* FM2 15mm Kodachrome 64 1/125 sec, /-8

132-134 not recorded

135 FM2 24mm Kodachrome 64 1/500 sec, / - l l with polarizing

filter

136* F3 200mm Kodachrome 64 1/250 sec, / - 8 with polarizing

filter

137* FM2 35mm Kodachrome 64 1/250 sec, / - l l

138 (below) F3 105mm Kodachrome 64 1/500 sec, /-8

139 F3 15mm Kodachrome 64 1/500 sec, / - l l

140 (above) F3 105mm Kodachrome 64 1/250 sec, /-5.6

(below) F3 105mm Kodachrome 64 1/125 sec, /-5.6

141 (above) F3 105mm Kodachrome 64 1/500 sec, /-5.6

(below) F3 55mm Kodachrome 64 1/125 sec, /-8

142 (above) F3 105mm Kodachrome 64 1/250 sec, /-8

(below) F3 105mm Kodachrome 64 1/250 sec, /-5.6

143 F3 35mm Kodachrome 64 1/250 sec, /-8

PAGE CAMERA LENS FILM EXPOSURE
MODEL

144 AF35 35mm Kodachrome 64 Automatic, with flash

145 F3 15mm Fuji 100 1/30 sec, / - 8

146 (above) F3 85mm Fuji 100 1/125 sec, /-5.6

(below) F3 105mm Fuji 100 1/500 sec, /-5.6

147 FM2 105mm Kodaclirome 64 1/250 sec, /-8

148-149* F3 85mm Kodachrome 64 1/125 sec, /-5.6

150-151 F3 105mm Fuji 100 1/250 sec, /-8

152-153* F3 35mm Kodachrome 64 1/250 sec, /-8

154 not recorded

155 F3 500mm Kodachrome 64 1/500 sec, /-8

156-162 FM2 55mm Ektachrome 64 various

163 FM2 200mm Ektachrome 64 1/125 sec, /-5.6

164-165* F3 24mm Ektachrome 64 1/250 sec, /-5.6

166 (below) F3 24mm Ektachrome 64 1/500 sec, / - l l

167 F3 35mm Ektachrome 64 1/60 sec, / - 5 . 6

168-169 F3 200mm Ektachrome 64 1/125 sec, /-4.5

170 (above) F3 135mm Ektachrome 64 1/125 sec, /-5.6

(below) F3 55mm Kodachrome 64 1/500 sec, /-8

171 (above) F3 500mm Kodachrome 64 1/500 sec, /-8

(below) F3 500mm Kodachrome 64 1/250 sec, /-8

172 (above left) F3 500mm Fuji 100 1/30 sec, /-8

(above right) F3 24mm Fuji 100 8 sees, /-8

173 not recorded

174 (below) FM2 35mm Tri-X 1/125 sec, /-5.6

174-175* FM2 35mm Fuji 100 1/250 sec, /-8

175 FM2 80-200mm zoom Kodachrome 6-1 1/250 sec, /-4.5

176-177 F3 300mm Tri-X 1/500 sec, /-4.5

178-179* F3 55mm Tri-X 1/125 sec, /-8, with red filter

180-181 F3 105mm Tri-X 1/250 sec, /-8

182-183 F3 105mm Fuji 50 Electronic flash, / - l l


against the light: describes a
situation when the subject is
between the photographer and the
light source, so as to be back-lit.
angle of view: the position of the
camera in relation to the subject, or
the angle "seen" by a given lens.
aperture: an adjustable hole in the
iris of the lens that opens and
closes by means of a system of
metal leaves and allows light to
pass through onto the film. The
size of the hole, or aperture, is
defined in /-stops.
ASA (American Standards
Association): the rating of the
sensitivity of a film to light, which
determines the exposure setting.
The faster, or more sensitive, the
film, the higher the ASA number.
auto-focus: describes a camera
that focuses automatically on a
subject in the viewfinder without
any manual adjustment.
automatic camera: a camera in
which the exposure is controlled
automatically by built-in
components. A semi-automatic
camera requires the user to select
the aperture setting or the shutter
speed.
available light: describes existing
natural light without supplementary
lighting.
burning out: describes what
happens when detail is lost in the
image due to overexposure.
cast: any overall color tone
affecting the film, often due to the
use of a particular light source or to
the photograph being taken either
early or late in the day.
color negative film: any film used
for producing color prints. It
records colors as their
complementaries. The
complementary colors are reversed
in the printing to give the original
colors.
color reversal film: film used for
producing color transparencies
(slides). This film gives a positive
transparency by "reversing" the
negative image during processing.
color saturation: the density and
strength of color.
color transparency film: see
color reversal film.
complementary colors: pairs of
colors (eg blue and yellow) which,
when mixed together as light
beams of the correct intensity, will
produce white light.
contrast: the degree of difference
between light and dark tones in an
image. When there is a wide
difference, a photograph is
described as "contrasty"; when
there is not much difference, it is
described as "flat".
cropping: the framing of a
photograph in the camera as the
shot is taken, or the selection of
only part of a photographic image
for printing or enlarging.
depth of field: the area of a
photograph that appears acceptably
sharp in front of and behind the
point on which the lens is focused.
double exposure: one or more
exposures made on the same piece
of film, resulting in the imposition of
one image on another.
exposure: a criterion that depends
on the amount of light reaching the
film. It is determined by die
combination of aperture setting,
which controls the intensity or
amount of the light, and shutter
speed, which controls the exposure
time.
fast film: film with a rating of 200
ASA or more.
fisheye lens: a lens with an angle
of view of 180° or more; it often
produces a circular image.
flare: an effect produced when a
bright light shines directly on the
lens, either projecting the shape of
the aperture onto the image or
causing a loss of sharpness.
/-stop/number: a term which
refers to the size of the aperture
through which light passes to the
film. The lower (smaller) the
number, the wider the aperture and
thus the more light that will strike
the film.
focal length: the distance
between the optical ccnter of the
lens, when focused on infinity, and
the film plane. The longer the focal
length, the narrower the angle of
view.
gelatin filter: a transparent
material tliat absorbs some
wavelengths of light passing
through it. U.is placed in front of
the lens to change the color balance
of the light or to create a special
effect.
graininess: the granular effect
that appears on fast film due to its
increased sensitivity. The faster
the film, die coarser the grain.
high key: describes a photograph
of predominantly light tones.
highlights: the brightest parts of a
photograph.
latitude: describes a film's degree
of tolerance to exposure variations
that will still produce an acceptable
result.
low key: describes a photograph
of predominantly dark tones.
macro lens: a lens capable of
focusing extremely close to a
subject; a close-up lens.
mirror lens: a lens that uses
concave mirrors to "fold" the path
of light rays and produce a long-
focal-lcngth lens in a relatively
compact lens body. The mirror lens
has a fixed aperture. The out-of-
focus "doughnut" effect often seen
on highlights is produced by such a
lens.
overexposure: a condition that
results when too much light
reaches the film, so that the image
is too light and lacks contrast;
highlights may be burned out and
show no detail.
pan and tilt head: a tripod
mechanism that allows the camera
to swing and tilt through 180° or
more.
panning: describes following the
motion of a subject with the camera
and releasing the shutter during the
swing of the camera. In this way. a
slower shutter speed can lie used
to keep the subject sharp while
blurring the background to give the
effect of movement and/or speed.
polarizing filter: a filter used to
cut out reflections and haze by
reducing polarized light. Used on a
blue sky, it deepens the color,
increasing the contrast between
sky and clouds.
reciprocity failure: the alteration
of the color balance and exposure of
a film during extremely long or
short exposures because the
normal relationship between
exposure and light intensity does
not then apply.
self-timer mechanism: a camera
control that delays the firing of the
shutter after the release button is
pressed. It enables the
photographer to make last-minute
adjustments or to move into the
picture himself.
shutter: the device in a camera
that controls the length of time of
the exposure, so determining the
amount of time during which the
film is exposed to the light.
slow film: film with a rating of 100
GLOSSARY
ASA or less, giving fine grain and
good image sharpness.
SLR (single lens reflex): a
camera in which a mirror, set at a
45" angle behind the lens, reflects
the image up to the viewfinder. The
mirror swings out of the way when
the shutter is released. The user
sees through the viewfinder the
exact image that will be reproduced
on film.
soft focus: describes an image that
has been diffused by filters or by
shooting through glass or other
materials to reduce the overall
sharpness of the picture. This
technique is often used to soften
skin tones or smooth out any
blemishes.
standard lens: a lens with a focal
length approximately equal to the
diagonal of the format for which it is
intended. For a 35mm camera, it is
generally 50-55mm.
stopping down: reducing the size
of the aperture and thus the amount
of light entering the camera. This
also increases the depth of field.
sync cord/synchronization
lead: the lead that joins a camera
to an electronic flash, to trigger the
flash when the shutter is fully
opened.
telephoto lens: a lens with a
longer focal length and a narrower
angle of view than a standard lens.
It permits focusing at greater
distances from the subject and
produces greater magnification; it is
used to bring subjects closer
without moving the camera nearer
to them.
tungsten light: artificial light,
produced by a bulb containing a
tungsten filament.
underexposure: an effect that
results when insufficient light
reaches the film, so that the image
appears very dark.
wide-angle lens: a lens with a
shorter focal length than a standard
lens and a field of view of 60° or
more. Used for photographing a
wide area from close range.
zoom lens: a lens tliat can be
adjusted to a range of continuously
variable focal lengths by sliding or
rotating the barrel.
zooming: describes moving a
variable focus lens during an
exposure, often to produce an
"explosion" effect.
INDEX
A D G
action shots 40, 42, 76, 88-107, 171, depth of field 32, 39, 43, 84, 98, 153, 168 Gibraltar, Rock of 25
174-5 Deighton, Len 132 glamour 8, 24, 156-63
Adams, Richard 145 Derby Day, Epsom 72-9 glass, shooting through 32, 48, 126, 132-3
advertising 8, 23, 26, 40 Disney World 64, 128, 136-7 Goddard, Martyn 38-9, 42
angles, camera 14, 31, 46, 48, 53-4, 63, distractions 51, 52, 58-9, 60, 61, 80, 110, golf 9 0 - 1
67, 72, 76, 77, 84, 86, 92, 94, 98-100, 133 graphic image 26, 30-1, 34-5, 48, 115,
108, 110, 114, 122, 124, 126, 130-1, 138-9, 143, 148, 150, 166, 180
134-7, 138, 152, 156-63
animals 56, 168-71, 174 E
anticipation 16, 24, 56-7, 168, 174 exposure H
aperture setting see exposure, timing double 28, 88, 172-3 hands 69, 84-5, 157
architectural shots see buildings multiple 40, 172 high-key photography 24
auto-focus camera 144, 174 over- 24, 85, 131, 140, 158 highlights 14, 97, 120, 136, 140, 142, 151,
timing 12, 18, 25, 28, 31, 39, 64, 75, 159, 176
80, 97, 9 8 - 9 , 102, 104, 106, 108, 118, horse-racing 7 2 - 9
B 131, 140, 150-2, 154, 158-9 humor 10, 16, 20, 57, 70, 164, 174-5
babies 58 -63 under- 24, 136, 151
background 8, 32, 36, 39, 46, 52, 59-61,
72, 74, 75, 88, 97, 104, 150, 154, 156, I
159-60, 168, 170 F improvisation 72
Barbican Centre, London 126 facial contours 32, 38, 48 intimate moments 38, 66, 68, 70;
beach 156-63 family portraits 50-5, 58-63, 6 6 - 7 1 see also poses, relaxed
Beeston, Jennifer 36-7, 42 famous people 44, 46-9, 76, 174, 176
Berlin Wall 172 fashion 118, 156
best sellers 16, 20-3; see also selling film J
photographs color balance 12, 118 judo 88
black and white film 10, 24, 34-5, 39, 42, fast 20, 30-1, 38, 63, 176
43, 44, 176-81; see also monochrome slow 12
effect type of 24, 3 0 - 4 3 K
blurring 25, 88, 102, 104 field of view 18 kayaking 94-101
Bradshaw, Ian 30-1, 39, 42, 43 filter Kennington, Jill 8
Briggs, Karen 88 orange 4 3 Kings Road, London 16
buildings 18, 108, 110-17, 126-31, polarizing 116, 126, 132, 133, 135, 136
134-43, 144 red 179
soft-focus 48, 85
see also reflectors
C "first thoughts" picture 51, 58, 156
cars 8 6 - 7 flare 51, 131
cartoon, photographic 16 flash 28, 39, 40, 42, 43, 58, 66, 67, 80,
Cauthen, Steve 77 84, 92, 106, 126, 144
children 56-65, 70, 153 Florida 23, 64, 136, 153, 170
circular photograph 18 focal length 99
close-ups 60-1, 76, 80-5, 91, 125, 130, focal point 34, 58, 84, 130, 137, 146
138-43, 144 focus
color, enhancing 12, 25, 32 -3, 36, 86, out-of-focus effect 8, 36, 112, 163
108, 135, 179 sharp 84, 98, 102, 150, 152
color balance see film soft effect 38, 128
color negative film 24 foreground 54, 60, 80, 111-14, 121, 122,
communication 28-43, 44, 50, 164 128, 137, 141, 150, 172
cord, long sync 28 framing 16, 18, 30-3, 38-9, 44-7, 52, 54,
cropping 38, 61, 64, 98, 129, 148, 157, 58, 63, 66, 68-9, 77, 80, 82, 92, 111,
162, 166 112, 114, 116, 125, 139, 141, 142, 145,
cross-light see light 160-2, 180
crowds 18, 75, 77, 122, 124, 137 "freezing" movement 39, 42, 64, 70, 88,
Cruft's Dog Show 10, 174 90, 94, 100, 102, 104, 106
Fullerton, Fiona 4 6 - 7
L N
landmarks 108-17, 122, 128
landscapes 12, 23, 27, 108, 118, 123, 151
Leeds Castle, Kent 108
lens
fisheye 18
hood 51, 132
mirror 8
standard 10, 12, 18, 50, 58, 61, 162
telephoto 68, 75, 77, 79, 94, 154, 168
wide-angle 48, 100, 116
zoom 77, 99, 106, 116, 163
55mm 28
135mm 83
200mm 20, 112
300mm 77, 90, 98, 176
500mm 25, 153, 170
light
afternoon 14, 30, 121, 146
angle 43, 80, 108, 116, 118-21, 132-3,
134-5
color of 118
cross-light 28, 3 8 - 9
daylight 118-21
evening 12, 86, 108, 116, 121, 150
midday 14, 67, 108, 118, 120, 122, 124
morning, early 18, 106, 118-20, 123,
124, 144
quality of 118
side 30, 36, 43, 59, 61, 119, 132
soft 8, 28, 32, 35, 36, 38-9, 44, 62, 69,
80, 84-5, 163
studio 46
sunlight 50, 100, 166
time of day 14, 18, 86, 106, 108, 110,
116, 118-25
unflattering 50, 58, 67, 118, 160
see also glass, reflections, sun
Lincoln Memorial 118, 124-5, 144
locations 44, 48, 50, 58, 86, 138-43, 156,
164
Los Angeles 106
M 118, 126-33, 150, 170
Macintyre, Nigel 4 0 - 1
McGraw, Ali 4 8 - 9
magazine photography 8, 46, 72
Manhattan 25
Michelle, Vicki 2 8 - 4 3
mirrors 46, 71, 132, 167
mirrored images 14, 123, 126-31
models 8, 28-43, 156-67
monochrome effect 14, 39, 106, 111
Montauk Lighthouse 110-17
mother and baby see babies
New York 27, 130-1, 134-5, 173
newspaper photography 10, 20, 176
Nieman, Julian 34-5, 43
nighttime shots 25, 106, 108, 172
nudes 164-7
O selling photographs 23, 24, 174
occasions, special 80, 82-3, 85;
see also weddings
opportunities, photographic 12, 16, 20, 33,
56-7, 63, 66-7, 75, 77, 79, 91, 100,
166, 176
P skin tones 8, 24, 39, 84-5, 158
panning 94, 97, 102, 104
paparazzi 174
perspective 33, 83, 115, 137, 173
photo essay 72-9, 179, 180
photographic equipment 24, 175
Piggott, Lester 76
planning 24, 58, 66, 71, 72, 75, 76, 94,
118, 156, 164, 174
plate cameras 152
portraits 8, 39, 42, 44-55, 58-63, 66-71,
91, 92, 125, 148, 163
poses
aggressive 3 0 - 1
formal 44-5, 66
relaxed 33, 35, 36, 42, 44, 48, 50-5,
62, 66. 68-9, 156-63
positioning 51-5, 59, 62, 64, 74, 86, 94,
96-9, 108, 124-5, 126, 134-5, 156-63,
174; see also angles, camera
print-through 40
printing effects 176, 177-8
props 28, 52, 58, 60, 63, 69, 80, 166-7
R "tricks," photographic 40, 171-2
reciprocity failure 12, 25
reflections 14, 25, 42, 82-3, 108, 116,
elimination techniques 66, 67, 126,
132-3
reflectors, white 8, 85
Richmond, Duke of 44
Rutland, Duke of 44
S
"safety shot" 24, 176
Sag Harbor, Long Island 138-43
sandwich transparency 172-3
saturated colors 100
scale 27, 72, 92, 144-9, 173, 180
scene-setting 72
self-timer mechanism 18, 86
shadows 42, 43, 60, 64, 66, 80, 118,
124-5, 134, 138, 142, 166
Shotton, Sue 92
shutter, open 40
shutter speeds see exposure, timing
silhouettes 14, 26, 75, 113, 119, 120, 123,
134-5, 150-5, 165, 170, 180
space, use of 30, 32, 34, 83, 166
sports photography 82-3, 88-101, 102
St Paul's Cathedral, London 18
still-life 35, 80, 82-5, 134, 136
Stock Exchange, London 102
Stonehenge, England 145
sun, photographing into 26, 51-2, 96, 154,
156, 161
sunsets 12. 23, 26, 116, 132
T
technical information 184-8
texture 34, 39, 43, 84. 95, 113, 118,
160
Thurston, Patrick 3 2 - 3
time of day for lighting see light
timing 10, 20, 70, 90-1, 94, 97, 118, 180;
see also opportunities
Tower Bridge, London 118-21
trampolining 9 2 - 3
transparency film 24
travel photography 14, 32, 147
Trevino. Lee 90
tripod 12, 24 , 25, 28, 58, 98- 9, 106, 152
tungsten light 28, 84
V
viewfinder 58, 104
W
Walsh, Maria 45
Washington, DC 118, 122-5, 129
Washington Monument. 122-3, 144
water 14, 25, 64, 94-101, 104, 118, 122
weddings 66-71
West Point Military Academy 180
Z
zooming 99, 102, 106
ACKNOWLEDGMENTS

The author would like to thank the

following for their assistance in the
preparation of this book:

Ivy and Bill Allsopp

Jennifer Beeston
Jon Bigg
Bryn Campbell
Lyn Cullen
Gerry Davis (photograph p. 27)
Donald Binney (for Index)
Martyn Goddard
Tom Hawkyard/3M
Jill Kennington
Leigh
Nigel Macintyre
Tony Martin (for black and white printing)
Vicki Michelle (for enduring the six
photographers)
Julian Nieman
Graham Rutherford / Fuji
Gene Spatz
Lindsay and Ian Thomlinson
Patrick Thurston
Frances Vince

Alamo Car Rental

British Airways
Irish Tourist Board
Lion Country Safari
Nikon (UK) Ltd.
The Observer
Sunday Mirror
Telegraph Sunday Magazine
YOU magazine
Walt Disney Productions Ltd.

Artwork by Hayward and Martin

 HP Photobooks—Take Your Best Shot
Pro Techniques
Pro Techniques of Beauty & Glamour Photography—Bernstein $14.95
Pro Techniques of Photographing Children—Stone 9.95
Pro Techniques of Creative Photography—Bradshaw 14.95
Pro Techniques of Landscape Photography—Muench 14 9 5
Pro Techniques of Making Home Video Movies—Ford 12.95
Pro Techniques of People Photography—Bernstein 14.95
Pro Techniques of Studio Photography—Fruchtman 14.95

General Photo Guides

Close-Up Photography 9.95
Electronic Flash—Bailey 12.95
Great Pictures with Your S L R — J a c o b s 9.95
H o w t o B u y & Use H o m e V i d e o E q u i p m e n t — C o s t e l l o Heiss 9.95
How to Photograph Flowers. Plants & Landscapes—Fell 9.95
Improve Your Photography 14.95
Photographing People—Busselle 14.95
Photograph Landscapes & Scenic Views—Brooks 12.95
Photographic Lighting—Brooks 12.95
Nature & Wildlife Photos—Freeman 14 9 5
SLR Photographer's H a n d b o o k — S h i p m a n 12.95
Understanding Photography—Shipman 9.95
Use & Display Pictures—Kirkman 9.95
Weddings, Groups & Ceremonies—Burk 9.95
Zone System for B & W Photography—Schaefer 14.95

Learn Photography Series

B&W Darkroom Techniques S9.95
Color Darkroom Techniques 9.95
Creative Darkroom Techniques 9.95
H o w to C o m p o s e Better P h o t o s 9.95
H o w to P h o t o g r a p h Pets & A n i m a l s 7.95
H o w to P h o t o g r a p h People 9.95
H o w to P h o t o g r a p h W o m e n 9.95
H o w to Select & Use Your SLR S y s t e m 9.95
Make Better Color P h o t o s 9.95
SLR Tips & Techniques 9.95
Take Pictures Like A Pro 9.95
Use Light Creatively 9.95

SLR Camera Guides

Canon SLR C a m e r a s ' — S h i p m a n $12.95
Minolta M a x x u m SLR Cameras'—Shipman 12.95
Minolta SLR C a m e r a s ' — S h i p m a n 12.95
Nikon SLR C a m e r a s ' — S h i p m a n 12.95
O l y m p u s SLR C a m e r a s ' — S h i p m a n 12.95
Pentax SLR C a m e r a s ' — S h i p m a n 12.95

' S L R camera guides are updated regularly to include most up-to-date camera models.
All books are paperback.
HP photo books are available wherever fine photography books are sold, or order direct from the publisher. Send check or money order payable in
U.S. funds to:
HPBooks. Inc.. P.O. Box 5367. Dept PTC-47. Tucson. AZ 85703
Include $1.95 postage and handling for first book; S1.00 for each additional book. Arizona residents add 7% sales tax Please allow 4-6 weeks for
delivery Prices subject to change
 HP Photobooks
HELP YOU SUCCEED!
S e e t h e s e f i n e b o o k s in c a m e r a s h o p s
and bookstores everywhere.

CAMERA
MANUALS
thoroughly explain how
to select a n d use
today s most popular SLR
cameras—CANON, MINOLTA,
NIKON. O L Y M P U S and
PENTAX. MEDIUM-FORMAT
C A M E R A S covers nine popular
s y s t e m s in t h i s f o r m a t . E a c h
c a m e r a s y s t e m is c o m p l e t e l y d e s c r i b e d a n d i l l u s t r a t e d ,
with facts about metering, lenses, flash, close-up ac-
c e s s o r i e s , w i n d e r s , a n d m o r e . E a c h b o o k is p a c k e d w i t h
p h o t o g r a p h s , c h a r t s , d i a g r a m s a n d t a b l e s to- h e l p y o u
select and master the equipment you need.

LEARN
Ian Bradshaw is a British-born p h o t o g r a p h e r PHOTOGRAPHY
w h o s e w o r k appears in b o o k s and m a g a z i n e s w i t h t h i s s e r i e s of
published internationally. In Pro Techniques of basic, non-technical
p h o t o b o o k s . E a c h is
Creative Photography he explains t h e simple,
w r i t t e n in s i m p l e , s t r a i g h t -
but thoughtful, t e c h n i q u e s that h a v e brought f o r w a r d style a n d fully
h i m a w a r d - w i n n i n g s u c c e s s . T h e book illustrated with brilliant color
features a selection of his best and boldest photos that entertain and teach.
w o r k to s h o w h o w y o u can take better L e a r n h o w to use your S L R s y s t e m ,
pictures. p h o t o g r a p h p e o p l e , use light, m a k e better
use color effectively, and improve your photography.
Learn t h e k n o w - h o w of creative photography.
Probe into t h e mind of t h e professional
photographer. H o w to think t h e shot t h r o u g h
before y o u press t h e shutter button - or e v e n
PHOTOGRAPHIC
before y o u leave h o m e . TECHNIQUES
a r e e x p l a i n e d by
With beautiful and inspiring s t e p - b y - s t e p e x p e r t s i n e a c h of t h e s e
photos, Pro Techniques of Creative fact-filled books. You'll learn
i m p o r t a n t t e c h n i q u e s of
Photography s h o w s h o w a picture builds in t h e
landscape, sports and
photographer's mind. It c o v e r s t h e most
electronic-flash photography,
popular photographic situations - portraiture, creative lighting, using a
still-life, glamour, s p o r t s a n d action, travel, darkroom, and how your c a m e r a
children, animals, and more. w o r k s . O t h e r b o o k s in t h i s s e r i e s i m p r o v e y o u r s k i l l s
in n a t u r e , w e d d i n g , c l o s e - u p a n d m a c r o p h o t o g r a p h y ,
A n a l y z e t h e t e c h n i q u e s of e v e r y s h o t by and much more.
c o n s i d e r i n g t h e six key q u e s t i o n s of creative
photography: W H O ? WHAT? WHERE?
W H E N ? W H Y ? and H O W ? With t h e a n s w e r s BECOME A
- a n d this b o o k - y o u can take m o r e creative BETTER PHOTOGRAPHER
pictures right away.
WITH HP Photobooks.

I J f O O JOVJM
ISBN 0-8^58^-380-4 HPBooks
A division of H P B o o k s , Inc.
Tucson, Arizona
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