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Update April 2017

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Update by Natrakorn Paewsoongnern

SNAP SHOTS   by Harry Flashman


Update April 30, 2017

Weaning children off ‘selfies’

I have kept thousands of photographs I should have thrown away – however they do have a value. They teach me what I did wrong, several times over!

Looking over many of the shots showed me that I took a lot of shots of almost exactly the same things. One wrong shot was repeated over and over again, as if I expected God to come and fix the photo for me. He didn’t.

So, if you are teaching your children to take photographs, get them to take several shots of the same subject, but vary the approach. Shoot in landscape format and portrait formats. Shoot from above, low down and central positions. If possible, with your camera, use different lenses or at different extremes of a zoom lens.

Backgrounds can make or break a photograph. Teach your children to look at the background as well as at the subject. Backgrounds do not add to a shot, but they have the ability to ruin a shot. How many photographs have you made with trees growing out of people’s heads?

Another problem which shows up with many new photographers is the horizon line being off at a drunken angle. Teach your children to look critically at the framing of the shot before squeezing the shutter button. And after, when reviewing the shot in the LCD, to take it again if the horizon is skewed.

Teach your children how to hold a camera with two hands and none of this one-handed approach while waving three fingers with the other and saying “Nung, song, sam”. Despite anti-shake technology, there is a limit!

For me, one of the first ‘rules’ for photography is to Move In Closer. Make the subject fill the frame. In other words, make the subject the obvious ‘hero’ and your child will get better photos.

Another factor to teach is that when illustrating a school outing, for example, they will need to show where they went, as well as their class mates who went on the trip. This is also a time to take plenty of shots, but not 100 shots all the same!

It is important for your child to understand that good photographs are ‘made’, they just don’t happen. To sparkle up their shots, look for points of interest to include in the viewfinder. Then work out how to really use that point of interest in the shot. This may require shifting position, but is worthwhile.

No lessons on photography can go by without mentioning the Rule of Thirds. Placing the hero at the intersection of thirds can be a little hard for youngsters to understand, but even to show them to place the subject off-center can be enough.

Provided your child is a teenager, he or she is old enough to be taught the different ‘modes’ offered by almost all digital cameras these days. This includes ‘Portrait’, ‘Sports’, ‘Flash’ and ‘Fireworks’ and many others. Teach them that modes just take some of the mechanical/optical steps away from the photographer and uses the automatic functions in the camera instead. However, the modes do not signify the only way to take a sports photograph, for example.

Just as their teachers grade school homework, sit down with your budding photographer and discuss their images. Get them to understand which shots are good, and which are not so good, and why.

One of the most important items for new photographers is a small notebook and pencil. Teach your children to make notes as to the camera settings they are using for every shot. Then while going through the shots with them you can see areas where they can improve over the settings they used to take the shot. But with no notebook, both of you are flying blind.

Older children can be introduced to the basics of exposure values, using the Aperture Priority mode and the Shutter priority mode, and the concept of ISO ratings. They can then take shots moving between the three variables and have a very practical lesson in how these affect the final images.

Photography is a good hobby for children and teaches them to think and look critically at their own images.

Update April 23, 2017

Photographic “stuff” you ‘might’ really need

There is an unfortunate concept amongst photographers that the more “stuff” you have, the better your photographs will turn out. This is a furphy put into the collective subconscious by the manufacturers of said stuff.

In my days as a pro photographer, complete with Hasselblads (6x6) and even a Cambo (rail camera) as well as all the usual 35 mm work horses, I used to hire as much stuff as I could for any particular assignment.

For example, a client wanted a panorama of the river, complete with blue water. I took the assignment, even though I didn’t have a panorama lens and the river was brown.

The camera was easy, the photo processing outfit I used also had a hire section. The blue water was a little more difficult!

This I accomplished by making a half blue filter myself, and positioning it carefully in front of the panorama camera. It was a bit hit or miss, but you never show the client the “outs”. So there we were, pre-photoshop and no need for a huge box of “stuff”.

However, there are some things you should own, and here are a few of them.

By the way, before rushing out to get filters, you do need to standardize your equipment. The first thing I did with my new camera was to check the size of the lens diameter. It was 55 mm. The second thing I did was to find a stepping ring to bring the diameter up to 62 mm, the diameter of my filters.

Now, let’s look at filters. The first one is called simply a Skylight 1A. This filter does make the sky a little deeper, but the main reason to have it is as a sacrificial piece of glass, so that your good, expensive lens does not get scratched. Skylight 1A’s are very cheap, comparatively. (Getting photo filters can be difficult in Pattaya, but there is a camera shop on the second floor of TukCom which is well stocked and helpful.)

The second filter you need to buy is a polarizer. I have mentioned polarizers before, but the difference between polarized sunlit shots and unpolarized is incredible. The depth of color when you polarize is fantastic. As you rotate the polarizing filter, the reflections on any shiny surface, be that grass, trees, water or whatever, just disappear, leaving the undiluted bold color. Get one!

One of the nicest filter effects is what is called “center spot soft focus” filter. Now this just means the center is in focus and the edges are nicely soft and blurred. This effect is used by portrait and wedding photographers all over the world to produce that wonderful “romantic” photograph.

You can also use these filters with any compact point and shoot camera, but it is a little more hit and miss, as there’s no pre-view with compacts. What you have to do is position the center of the filter over the lens and, while keeping it there, bring the camera up to your eye, compose the shot and then shoot. Takes some fiddling and manual dexterity and take a few shots as you are really flying blind.

This romantic filter you can actually make yourself. Get a square of Perspex say 6cm x 6 cm and place a 2 baht coin in the center. Now wave some hairspray over it and when the spray is dry, flick the coin off with a sharp knife and you have your very own center spot filter.

Soft romantic effects can also be produced by gently breathing on the Skylight 1A filter just before you take the shot. Your warm breath will impart a “mist” to produce a wonderfully misty portrait, or that early morning mist look for landscapes. Remember that the “misting” only lasts a few seconds, so make sure you have the camera pre-focussed and ready to shoot.

Another interesting result is by smearing Vaseline on the same Skylight 1A and seeing the different effects you get. Do not smear the Vaseline on the end of your lens. It is impossible to get off without washing in hot soapy water, something you can do with a filter, but not with your lens.

Update April 16, 2017

Man Ray the emancipated photographer and Kiki, the emancipated woman

If you think Pattaya has a reputation for raunchiness (which has been decreed as a “Happy Zone”), then you have never done some historical searches.

Paris in the early 1920’s had the reputation and ‘Gay Paree’ was one of the raunchiest cities in the world. What went on in Paris makes Pattaya today look like a kindergarten. It was a city of excesses in all ways, and definitely sexually. “Free love” was not invented by Woodstock and the flower power groups in the USA. Paris had it all, and then some, almost half a century earlier.

It also had a flourishing artistic commune (another concept the Americans did not invent), and two of their members were Emmanuel Radnitsky (who changed his name to Man Ray when he was 15 years old, and could you blame him?) and Kiki of Montparnasse, a truly free spirit who once said, “All I need is an onion, a bit of bread, and a bottle of red; and I will always find somebody to offer me that.” Both of them have left their marks on the history of photography (as well as their marks upon each other).

Man Ray (1890-1976) arrived in Paris in 1921, drawn to a city that attracted writers, musicians, artists, exiles, free-thinkers and Americans. America was then, as it still is in many ways, the bastion of nudity (Penthouse, Hustle, Playboy et al) and also prudity. An amazing contradiction!

As one means of supporting himself abroad (Radnitsky) Man Ray, who was initially an artist, began taking photographic portraits, and he quickly emerged as the premier photographer in Paris at that time. The reason for the change of directions was obvious. Man Ray had quickly turned to the camera as the fastest way to do a portrait. “If it is a portrait that interests me, a face, or a nude, I will use my camera. It is quicker than making a drawing or a painting (and) to express what I feel, I use the medium best suited to express that idea, which is also always the most economical one.” Can you imagine what Man Ray would have done with today’s instant imaging? His reputation as a master of the photographic portrait was unsurpassed, not only for his technical prowess but also for his innovative poses and imaginative approach. He photographed virtually all the artistic literati and personalities of Paris in the ‘20s including Picasso, Matisse, Virginia Woolf, T.S. Eliot, James Joyce and Ernest Hemingway.

It was during this time that he met Kiki of Montparnasse. Illegitimate and poor, her early years were marked by her ability to fend for herself, by whatever means were needed (chrome poles and Pattaya come to mind). By the time she was a teenager she was working as a ‘model’, and soon came into contact with major artists and writers of the time and she met and befriended the likes of Hemingway, Cocteau, and Man Ray - the latter who also became her lover for six years. Her collaborations with Man Ray produced some of Surrealism's most iconic images, including Noire et blanche and Le Violon d'Ingres, where for this photograph Man Ray painted the f cut-outs on her back, seeing the relationship between the female form and the shape of the violin.

At the height of her fame in 1929, Kiki created a sensation when she wrote her memoirs, which were promptly banned in America (the prudity factor again). Armed with the most endearing charms, creative talents, and a keen intelligence, Kiki revealed in her recollections the life of a fiercely modern individual who was a truly emancipated and imaginative woman.

Man Ray’s imagination also led him to produce other non-standard ways of producing a photograph, including placing objects on photographic paper and then exposing the paper to light and processing from there, and also solarized prints, such as the famous one of his assistant Lee Miller taken in 1930. This effect is produced by a re-exposure of the negative during processing, which reverses the blacks and whites.

We do not have such unbridled artistic expression these days, despite iPads and the social media! And nudity? It’s back to the happy zones again!

Update April 9, 2017

Oh No! It’s Songkran again!

I do not like Songkran. If it were one day it would be fun, but days of being soaked in icy cold water, is not. However, there is no getting away from the fact that Songkran is a festival you should photograph – even if it is only once! I will also admit that the first time I experienced this annual water throwing event, I too thought it was fun. Remember that the Thais talk about “playing” Songkran, not “celebrating” Songkran.

By the way, despite what you may be told, this is not a uniquely ‘Thai’ festival, but one that is celebrated in many countries in SE Asia, so if you want to flee go further than the immediate neighborhood!

Since great volumes of water will be thrown this does offer some great photo opportunities, but unfortunately also presents some great opportunities to permanently damage your expensive electronic camera gear.

As a visual spectacle it is definitely worth recording for posterity, but this should not be done at the expense of your camera equipment. As mentioned, this is a water festival, and cameras and thrown water (and powder and ice) do not mix. (For that matter, water throwing and alcohol do not mix either, which is just one of the reasons for the horrendous death toll.)

There are several ways around this problem. The first is to go all out and buy a Nikonos underwater camera at the cost of many thousands of baht. These are a wonderful underwater camera but for this instance – totally impractical, unless you want to stand at the side of the road in a full wet-suit!

The second way is to purchase a fancy plastic underwater housing for your own camera. Now these can range in price, depending on complexity. Built like a perspex box to house your camera, you can operate all the adjustments from the outside. These are not cheap either, but the cheapest in the range is literally a plastic bag with a waterproof opening and a clear plastic section for the lens. You open it up and literally drop your camera inside it and seal the bag. These can be purchased from major photographic outlets and I did spot one in a photo shop for B. 750.

A third way is a waterproof disposable (yes, they do make them). Good for about three meters, so perfectly suitable for splashing water. If you can’t get one of those, then even the ordinary cheap disposables are a better option than getting your good camera gear doused. I must admit to having dropped one of these overboard one day and the boatman jumped in and rescued it. It survived the dip and the final pictures were fine. But I do not recommend this!

So now let’s get down to some serious photo techniques to get that magic Songkran shot. Since you are trying to capture the movement of the water, a slow shutter speed will help. Hand-held you are probably not going to get down below 1/30th, but you could try some at 1/15th, it’s not impossible, especially if you are using a wide-angle lens.

However, since you are trying to get far enough away to keep the camera dry, you may be forced to use the longer lenses which means you cannot hand-hold at even 1/30th. The answer here is to find a good vantage point, some distance from the action, and use a tripod.

If you are going down this route, then the best vantage point is a high one. First floor balconies get you high enough to escape the water, but not too high that you cannot get into the activity with a 150 mm lens or longer. Since you will be using a tripod, I would even set the shutter speed slower than 1/30th, and a few ‘experimental’ shots at 1/8th or even of a second are worth trying. Remember that some ‘blurring’ denotes motion in the final photograph, and at Songkran there is plenty of activity.

Finally, you can always cheat by photographing through the windscreen of the car, as I did last year! “Chok di bi mai! May your camera stay dry!”

Update April 2, 2017

Using new technology with old

Photography these days is a triumph of technology. Cameras can set their own exposure values, work out the best shutter speed and aperture. All you really have to do is to “push the button”.

This concept is not new. “You Press the Button, We Do the Rest" was an advertising slogan coined by George Eastman, the founder of Kodak in 1888. Eastman believed in making photography available to the world, and making it possible for anyone to take great pictures. I’m with you George, and by using your old technology you can still get great pictures today.

This week’s column refers to pictures so good you will hang them on the wall. You want an image with ‘Wow factor’ that has an immediate effect on people. The end result if you follow it will be such that people will say for years, “How did you take that? Was it a special kind of filter?”

Well, the good news is that you do not need to know anything about filters. The next piece of good news is that you also do not need to know anything about f stops, shutter speeds, zoom lenses, reciprocity failure or the like. Any film camera will do – even a cheap point and shooter!

The first step is to pop down to the photo shop and buy some slide film. Don’t worry if you haven’t got a projector, never used slide film before or any other of the excuses. If you normally use 100 ASA then get some 100 ASA slide film. Do not get the Kodachrome type that you have to send away for processing, just get ordinary slide film that can be processed here, called E6.

OK, load the camera with the slide film (it’s just the same to load as print film - for most cameras, put in the cassette, pull the tail across and shut the back of the camera!)

The final result looks best with landscapes – include some sky, or seascapes where you include a yacht or similar close up, or a river scene, and finish the roll of film.

Now take the film back to the shop for processing and here is an important part. You ask for E6 slide processing, but do not mount the slides! Leave the slides either as a roll or cut into strips of six and put in sleeves like the usual print film negatives. Impress this on the girl behind the counter. You do not want them mounted. Repeat the instructions!

When you get the slide films back, just hold them up to the light and select any one shot that you like the look of. You can choose the image in the shop even. You don’t have to be super-selective.

Now talk to the girl behind the counter, saying “I want you to print number X as if it is a negative. I know it is slide film, but I want you to print a picture, using this slide as the negative.” It will probably take quite some repeating before the technician will reluctantly take the job on, with much warnings about it will not look right, etc. Ignore all warnings, just have faith. While you are at it, tell them that you do not want the usual small size, but get an enlargement done straight off. 10” x 8” is sufficient and costs around 100 baht. The photo shops generally call this size 8R. Repeat your instructions, tell them you know the color will be wrong and leave them to it.

You see, what happens with color prints is that the processing machine recognizes certain colors in the normal negative and converts that to green for grass, blue for skies etc., in a photochemical way. By giving the auto processor grass that is already green and skies already blue totally confuses its auto brain (and the girl in the shop usually) and it will produce a print with the wildest psychedelic colors you will ever see. Expect orange trees and yellow skies - you can get anything! It is almost impossible to predict, but the end result will certainly have that Wow I promised you. Try it this weekend. You will not be disappointed.

Update March 25, 2017

There is so much more to photography than record shots

Simple shots are those you take of your wife at the beach with her sister and your brother-in-law. You know what I mean, and you have taken lots of them in your lifetime. Photographically, we call these ‘record shots’ as all they are doing is recording an event. No ‘art’ or even artistic input by the photographer.

Here’s a simple (and cheap) way to put some art into your photography by using filters, without having to buy expensive filter kits. Filters can be used with any camera, the old “film” days, digital, compact or SLR, but digital will certainly give you an instant result. I also believe in not spending too much on filters, and when I say cheap, the first one costs 1 baht (and is recoverable) and gives you a center-spot soft focus filter. It will enhance portraits, particularly of women, giving a soft dreamy look to the photo. Using this filter this just means the center is in focus and the edges are nicely soft and blurred. This effect is used by portrait and wedding photographers all over the world to produce that wonderful “romantic” photograph.

Here’s how you do it. You will need one can of hairspray, a one baht coin and a clear piece of glass or plastic (perspex) around 7.5 cm square. This piece of perspex needs to be as thin as possible to keep it optically correct. One supply source can be hardware shops, glaziers and most picture framers.

Having cut out your square, put the coin in the center of the perspex and then gently wave the hairspray over the lot. Let it dry and gently flick the coin off and you have your first special effects filter – the center spot soft focus.

Now set your camera lens on the largest aperture you can (around f5.6 or f4 is fine). Focus on your subject, keeping the face in the center of the screen. Bring up your magic FX filter and place it over the lens and what do you see? The face is in focus and the edges are all blurred! You’ve got it. Shoot! Take a few shots, especially ones with the light behind your subject. Try altering the f stop as well, as this changes the apparent size of the clear spot in the middle. Simple, cheap and easy art.

Here is another, the Super Sunset Filter. This one will give you that wonderfully warm “tropical sunset” which will make people envious that they aren’t over here to enjoy such spectacular endings to the day. To produce the warm glow, just take off your sunglasses and place one side over the lens. It’s that simple! Just look at the difference yourself, with and without the sunnies. The camera will see it the same way.

Soft romantic effects can be produced super inexpensively as well. The first is to gently breathe on the end of the lens just before you take the shot. Your warm breath will impart a “mist” to produce a wonderfully misty portrait, or that early morning mist look for landscapes. Remember that the “misting” only lasts a few seconds, so make sure you have the camera pre-focussed and ready to shoot. If you have control over the aperture, try around f4 as well.

Here’s another. Use a piece of stocking (pantyhose) material. Stretch it over the lens and tie it on with a rubber band. Cut a small hole in the middle and go ahead and shoot romantic portraits.

There are also other ways of bending, refracting or just generally fooling the camera’s lens system. This you do by holding transparent materials in front of the lens when taking your photographs. I suggest you get small pieces of glass or perspex (around 10 cm by 10 cm) and use these as the final filter. You can even use semi-transparent material like shower screen glass. The concept is just to produce a “different” effect, one that the camera will pick up. It is very difficult to predict the outcomes in these situations, but you can be pleasantly amazed at some of the results. The main idea is to give it a try!

Update March 18, 2017

Lighting can be enlightening

I am sure there are photographers out there who believe that you look for G on the mode button, and the camera does the rest. G of course stands for “Great shots”. The newer cameras really do make the photographer feel that the electronic smarts will do it all. Unfortunately, they don’t.

Never forget that the definition of photography is “painting with light”. And you are the painter. Much of photography is to do with harnessing the light rays given to us by the great lighting technician in the sky.

Take, for example, photographing the waves rolling into the shore. The white caps on the top of the waves look great, but to get that shot you need to have the sun coming from behind you, at an angle that is almost parallel to the beach. This way the water remains dark, but the white caps catch the sun’s rays and show very brightly.

So how do you get this shot? Well, you have to find a beach where the early morning sun’s rays go out to the sea. If you can’t find one, sometimes the late afternoon sun will then be coming from the direction you want. This is something that your fancy e-camera cannot replicate. 30 pixels can’t move the position of the sun.

And those two times – early morning and late afternoon have always been the best times to get good shots. “Cold” ambience in the early mornings and “warm” ambience in the afternoons. You can use an 81A or 81B “warming” filter, but the end result is not as good as that coming from the ethereal light technician.

I have just mentioned color “temperature” (cold and warm) which are terms that are borrowed from physics. However, the photographic color temperature is not exactly the same as the color temperature defined in physics, as photographic color temperature is measured only on the relative intensity of blue to red. However, we can borrow the basic measurement scale from physics and we can measure the photographic color temperature in degrees called Kelvin (K).

Here is a table to show the color differences in light sources.

1000 K   Candles; oil lamps

2000 K   Low effect tungsten lamps

2500 K   Household light bulbs

3000 K   Studio lights, photo floods

4000 K   Clear flashbulbs

5000 K   Typical daylight; electronic flash

5500 K   The sun at noon

6000 K   Bright sunshine with clear sky

7000 K   Slightly overcast sky

8000 K   Hazy sky

9000 K   Open shade on clear day

The next confusing aspect is that the photographic color rendition and the human eye do not see the colors with the same intensity. The usual camera colors are ‘balanced’ to around 5,000 K, so light sources lower in color temperature will look orange, even though it does not look orange to the naked eye. This is why tungsten light sources produce the orange hue. However, when you balance the color, the light is balanced against tungsten light by exposing it to a blue tinge, so this time the light bulb will look white. Slightly confusing.

You also do not have to know the degrees Kelvin table off by heart to get some different photographs when you turn the flash off. The main thing to remember is that the color you perceive via the naked eye, is not necessarily the color you will get in your photograph, but if you know your Photoshop, you can correct this in what we call post production.

Let’s get some spectacular low-light photographs. Firstly, inactivate the flash, but turn on the automatic mode for your camera. If you have a tripod, dust it off, but even if you haven’t, continue. We are about to explore the 1000 K to 2000 K end of the scale.

Go to your local markets and take some photographs using just the stall-holder’s naked bulb for illumination. Be prepared to lean against a telephone pole to stop camera shake. But give it a go.

Now try photographing some of the hotels at night. Most are quite brightly lit and once again, you may end up very surprised. Even try some portraits lit by candles only. Use your imagination, and not the flash!

Update March 11, 2017

The shot of a lifetime

The shot of your lifetime will happen one day. Right in front of your eyes. But will you be ready to capture it? Remembering that an incredible shot can keep you in champagne for months.

The first tip to record that shot is then very basic. Make sure you have a camera with you. At a pinch I’ll even say have a good quality smartphone.

The next tip is to select a subject that is out of the ordinary. Now remind yourself of the fact that you are living where your countrymen save up for 12 months just to get here for a holiday. And you have an unequalled opportunity to find incredible “Thailand” shots.

Great shots can be shots that just somehow epitomize life in Thailand, for example. It could be a katoey posturing on Beach Road, or even the buffalo with two birds standing on its back. You (we) are lucky and should not let photographic opportunities pass us by.

So this week, let’s look at a few specific examples of “how to” when you are looking to record those “once in a lifetime” images.

Every city, town or village anywhere has its parades. And there are plenty of them here. Now, have you ever tried to record the parade? It is actually very difficult. The naked eye sees a long procession of musicians, marchers and the like as they pass by, but the camera sees only one slice of the action about 1/60th of a second long!

There is only one secret word for parades, and that’s ‘height’. You have to get a high viewpoint to successfully record the action, and preferably use a long lens. By shooting down the oncoming procession you will get several squads of musicians, marchers etc all on the one frame. By using the telephoto lens you “compress” the action and get more in the one photographic frame. Honestly, if you can’t get up high don’t take parades. You will be disappointed with all ground level shots.

All tourist towns have their nightlife, and we have the odd nocturnal events and places. Lots of lights, neon signs and flood-lit fountains are the norm for this type of photograph. The secret here is a wide angle lens with an aperture down around f 1.8. This is the time to set your digital to 800 ASA, or 400 ASA at least. The other secret is not to use your flash. Now I fully realize that this is photography after dark, but the whole concept is to let the attractions provide the illumination, rather than blasting it with your flash burst. If you try and take neon light using flash you will totally wash out the neon and again get very disappointing results.

One of the more challenging travel situations is the summer beach holiday. It is very difficult to photograph the beach and not end up with a washed out look in the final photographs. The secret here is a Polarizing filter and the time of day you shoot. This is where the Polarizer works so well, especially with the glare from the sand. The Polarizer will also give you a blue sky to contrast the yellow sand. The time of day is also just as important. Shoot early morning or late afternoon when the sun’s rays are skimming across the beach and the tracks and ridges in the sand will show up as shadows.

Some of you will be exponents of the wilderness type holiday, trekking and camping and taking in the vast grandeur of breathtaking natural wonders. The secret here is a wide angle lens, look for low viewpoints and set the ASA on 50 or 100, plus a tripod if you can. The idea here is to use the lens at around f16 or f22 to maximize the depth of field. This in turn and the slow ASA setting, will require longer exposures – hence the tripod. Shooting in this way will give you maximum detail in the shot, maximum content and visual theater. Finally, shoot early morning or late afternoon as well to get the dramatic shadow effects!

Using this advice you might just get that shot of a lifetime!

Update March 4, 2017

The irrepressible Andy Warhol

Photography is a preferred medium for tortured souls which does not require the artist to cut off an ear as per Van Gogh. Let us look this week at an artist/photographer who is remembered for his ability to record the human psyche in all its shallowness (and complexity). This is Andy Warhol (1928-1987), a complex character himself, and probably even deeper than Van Gogh.

Andy Warhol was born in Pittsburgh USA, the son of Czechoslovakian immigrants. He studied pictorial design and art history, sociology and psychology, and worked initially as a commercial artist for Vogue and Harper’s Bazaar and the I. Miller shoe company, where he was paid per shoe he drew. Andy did not mind this method of payment, as he was able to quickly work out how much he was owed!

In 1962 he produced his silkscreen prints on canvas of dollar notes, Campbell's Soup tins, and Marilyn Monroe (copies of which can be still seen in any copy artist’s studio in Thailand). The 32 soup cans were a deliberate attempt by Warhol to produce ‘legitimate’ art, trying to show that the human mind was attracted by the ‘sameness’, and it was the continuous exposure to those kind of images that produced a sense of security in the viewer. It was a conundrum of producing ‘art’ from something that was almost the antithesis of art.

From there he branched out into photography as well, but rather than take carefully arranged photographs, Andy Warhol went the other way, using a Polaroid camera to record ‘instant’ photographs, again in the anti-art genre. There are no well-lit, carefully posed, complementary background photographs from his Polaroid era. Many were filled with clutter. And Andy Warhol could not have cared less.

In fact, as he then began to move in the Hi-So circles, Warhol would go out every night and capture the people on film. “You want to go out every night because you’re afraid if you stay home you might miss something,” wrote Warhol many years ago. In many ways a similarity appears between Warhol and Weegee, the photojournalist. Neither wanted to miss what the night might bring.

Warhol had discovered that the life in America was like his Campbell’s Soup tins. Everyone wanted to be exposed to the public, the more times the better. The more recognizable, the more ‘famous’ you had become, and Warhol was the man who would be there. The ‘ultimate’ street photographer. Just as Weegee photographed the ordinary people in trouble, Andy Warhol photographed the out of the ordinary people. His relentless shots taken in Studio 54, the ‘in place’ disco are albums of freaks, hangers-on, minor celebrities, aging movie stars, starlets eager for any publicity, drunks, transvestites, designers, people with designs on being designers, the whole superfluous and superficial crowd. And Andy got them all, and in some ways recorded an era for posterity. (Reads just like Walking Street!)

I think that from originally being a voyeur, Warhol eventually began to believe his own press and his florid behavior became even more outlandish. He made movies of incredible length – Sleep, a six hour epic and Empire even two hours longer. But of course the world was ready for someone like this. The post war liberalization was breeding people who would symbolize the extremes that the new freedoms had brought.

Warhol continued with his entourage around him who I believe were needed to keep his empire going, as Warhol himself was too distracted to be able to keep track of what was happening. He was having showings and exhibitions all over the world, and was treating them all and the viewers with artistic contempt, his way of shielding himself from the world or revealing his true introspective nature.

As the world moved into the 80’s, America changed, and the attitudes changed with it. There were fewer places for people like Andy Warhol to feel secure in. Reality was returning after the excesses of the 60’s and 70’s, and the Warhol star was on the wane.

However today people once more want their image to be seen. Enter FaceBook and the “selfie”.

Warhol died from a post-operative complication in 1987.

Update February 25, 2017

Gerhard Joren and his exhibition of worthless images

Many years ago I met a Swedish photographer called Gerhard Joren who was passing through Pattaya. Ostensibly he was having a few days holiday, but true photographers do not take holidays – there is always something new to record.

Gerhard has been a pro shooter for many years and in many ways is an example for all weekend photographers with any ambition. He has arrived where he is by learning at the feet of the greatest teacher in the world – experience!

After deciding to be a photographer he did a six week night course in Sweden. He then went to America and talked his way into a job with one of New York’s top professionals. “After two weeks when they found out how much I didn’t know, I was sacked! But I soon got another job after I said I had worked for the first chap.” said Gerhard with a laugh.

In those early years, Gerhard says he took many dreadful photographs – his “worthless images” as he calls them, but he felt an exhibition of these would be beneficial. It could show to people that you can still take good pictures later on – if you persevere. Comparisons can be good at times.

He also believes in the old adage that it takes the same amount of time to take a bad picture as a good one – so you may as well apply yourself and do the best you can.

He had some advice for the amateur photographer, and here it was from the professional himself … “Learn exposure from slide film. Look at other people’s pictures and ask yourself ‘How did they do that’? Thirdly, move in closer but respect your subject.”

Expanding those very important pieces of advice, let’s see what he meant. Taking exposure, yesterday’s print film had a lot of “latitude”. In other words, you didn’t need to get the exposure 100 percent correct to still get a printable image. However, to get the BEST image possible you should expose correctly. Slide film has no latitude, so when you can shoot slides correctly, you will have the best exposures. By the way, for all the digital photographers, slide film was cheap and quick to process – just by asking the lab not to mount them and you could place the strips on a light box and compare all the different exposures side by side. Digital photography is somewhat different, but when you download your photos, call them up on whatever viewing program you use and you can easily pick the differences with half a stop between them. In fact, I bracket three shots with half a stop difference. One of them is always correct.

All photographers should look at others’ work. In fact, when Gerhard and I started chatting we both mentioned J-H Lartigue (those of you with long memories will remember we covered Lartigue’s work a few years ago). Gerhard said that amateurs can learn just by studying photographs and working out how the photographer got that particular image. Was it the time of day? Was it the angle it was shot from? Was it the placement of the people in the shot? Ask and try for yourself.

The last piece of advice you have been given here many times – walk right up and make the subject the “hero”. The main item of interest being too small is the most common reason for photo failures. Be prepared to amputate limbs in the final image, if it strengthens the power of the image.

Gerhard Joren has learned from his own early “worthless images” and was in the process of compiling a book of poignant black and white photographs. I have seen some of them and they are brilliant examples of true photojournalism. “I am the messenger, not the prophet” is Gerhard’s description of his work.

He spends ten months on the road and two months recovering. He has no favorite from the 45 or 50 odd countries he had visited in the past umpteen years.

“I am where my stomach is.” It was a pleasure to break bread with you while in Pattaya, Gerhard!

Update February 18, 2017

Selfie and then food

The advent of the smartphone has not done much for the art of photography. Having a phone that can take and store pictures has not developed any latent artistic abilities in the holder of said electronic equipment as far as I can see.

Even the briefest perusal of the social media will show that the artistic talent goes as far as taking a “selfie” (how I dislike that word) and then follow that up with a picture of what he or she ate. As if the world is hanging on his or her fork tangs. Personally I couldn’t care less what you ate, unless it was some culinary tour de force.

If you must show the world just what you had for your last supper (it would be if I could get hold of some of these social media freaks) I will give you some pointers to make it look as if this was a great plateful and not some collection of ingredients thrown onto a plate and tinged with green.

Let’s deal with the green pies first. Fluorescent lighting is the culprit. To the naked eye the lighting in the kitchen seems fine, but to the electronic receptors, the white balance is not correct, and hence the green.

To correct this is very easy. Use natural light to photograph food. Take the dishes outside, around 4.30 p.m. is best, and with the light coming across the food, take the shot. The colors will be natural and there will be some light and shadow to give depth to the photograph.

If you are going to add a bottle of wine to the shot, or make the wine a feature, you have just picked one of the most difficult items to successfully capture. To be able to photograph wine is one reason why food photographers can command such high fees.

Have you ever tried photographing champagne to put in your FB photos? Have you then noticed that there’s never enough bubbles to make it look sparkling. Fortunately, the champagne (or Prosecco or Method Champenoise) can be coaxed into producing as many bubbles as you might want. All you have to do is drop some sugar into the glass. Only a few crystals are enough to give the almost flat glass of champers that “just opened” fizz look to it. For a catalogue shot you also have to bring the light in from the back of the glass, as well as from the front. This takes two flash heads, or at least one head and a reflector, which is a little beyond your average “selfie” photographer.

While still on wines, if you try and shoot a bottle of red wine, it will come out thick dark maroon or even black. Amateurs who have tried photographing red wines will be nodding their heads in agreement. So what does the pro shooter do? Well he has a couple of courses of action. First is to dilute the red wine by about 50 percent and secondly place a silver foil reflector on the back of the bottle. You can light it from the front and the silver foil reflects the light back into the wine.

So what happens to the half bottle of red that was removed to dilute the wine? The photographer has it with dinner.

As far as how to take a better “selfie” is concerned, about all I can give you is to try and keep your arm out of the picture. The arm holding the camera being closer to the camera is exaggerated in size, so a “selfie” stick is much better. And if you are not happy with the result, don’t take the same one again and again. The additional shots will look as bad as the first one. Move your body, move from where you were standing, and try and get better lighting. Turn the flash off, if you can, is a very good idea as you will get shadow to add more interest.

So even though I very rarely see good photographs in the social media, it is possible to get better images. Just try next time, rather than banging off 27 shots all the same, and all boring as well.

Update February 11, 2017

Project 12, 26 and 52

There is a term in the financial world called ROI. That stands for “Return On Investment” and that is something all the clever bean counters look at. Simply, if the ROI isn’t there, do something else.

Still thinking about ROI, I came to the conclusion that the one item in everyone’s possession which is not giving value for money, is the camera itself. I’m talking about digitals here, as film belongs to the dark ages these days.

This week’s column is actually not a discourse on the two camera (photography) types – film and digital. I believe everyone now understands the reasons why the world left film behind. For new photographers who never used film, just understand that digital gives you the advantage of ‘instant’ review, something that film could never do. The best that film could do was a one hour wait at the photo-processors, and mess-ups could happen there too.

However, digital cameras are not cheap, and a DSLR can easily see you spending 20,000 baht and upwards. For that sort of money, you should be seeing some sort of return in satisfaction.

There is just so much more you can do with a DSLR than just taking photos of children, friends and family. You should be able to get some fun from the investment too.

The way to get that fun is to make a project for yourself, and one that can be carried through involves taking a photograph of something each week for a complete year. Hence my calling it Project 52.

For example, you could even do a self-portrait each week for one year. Use your imagination and creativity so that you do not end up with 52 shots of your face. There’s plenty of other bits of you to try. A fun idea would be make 52 sections of yourself, and then paste the different shots on to one sheet which would make up your body and be a final art work that Picasso would have been proud of.

Too squeamish for 52 shots of yourself? Well, how about 52 shots of your local area or suburb? The plan is to show all the different items that can be found in one community. There will also be different weather in that year – wet and dry to start with. There is also night and day, sunset and sunrise. High viewpoint, low viewpoint. You can see where I am going here. By using your creative senses, you can give yourself many hours of concepts and ideas and then shoot them each weekend.

Project 52 can also be carried out by older members of the family, and by children. Whilst personally I think a DSLR is better suited for this type of project, there is no real reason why a digital compact could not be used.

If 52 is just too much to take on, then what about Project 26? Each shot represents one letter of the alphabet. Sure, A for Apple is easy, but Q for ? is a little more difficult. Again, the creative approach will see you looking for queues, or even “quickly” (work out how to show that). You could even make it that the subject matter in each of the 26 shots looks like the letter. A stepladder looks like an A. So a double hook, for example, looks like an S, whilst a single hook looks like a J. The top of a bottle is an O. An open pair of scissors is a V.

You won’t find all the items in one weekend, but by the following weekend you’ll have worked out what you are looking to photograph.

If Project 26 is still too onerous for you, how about Project 12? There are 12 months of the year, think about how you can show the difference between them. Hot, wet, cold – there’s three of them – and then it gets harder from there. But the whole concept is to get you thinking, and then using your expensive investment.

Sit down this weekend and work out which project you would like to try, then start working on the concept, and then finally start shooting. Best of luck.

Update February 4, 2017

Good points and bad points with smartphones

Just as digital cameras changed the photographic world, so did smartphones 20 years later. In fact, smartphones have all but killed the low end of the compact camera market. However, the smartphone story is not all bad, but also not all good.

The first good point with smartphones is you are likely to have one in your pocket at all times – unless it is too big and you keep it in your handbag (or manbag). The availability of an instrument that can record images (I stop short of calling smartphones “cameras”) means that those ‘once in a lifetime’ shots are yours for the taking, provided you remember to shoot it!

One huge plus for smartphones over compacts is the ability to see your photos instantly, and then upload the image to other smartphone users, or people who can access your electronic image bank. Being able to visualize the resulting shot has been, for my money, the best feature of this type of photography at the lower end. Used sensibly, you can see what you have to do to get the best shot of the subject. The skill is in actually looking critically at your own shot, modifying items and shooting again. “Instantly!”

“Selfies” – the less said about selfies the better, as far as I am concerned. If you want a pleasing likeness of yourself, then do it with a camera which has the ability to set a focal length of at least 100 mm and produce a flattering image. I have no desire to see up your nostrils.

Forget megapixels. Smartphone owners often select the camera phone with the largest number of pixels. The more the merrier. Unfortunately that is not necessarily the case. There are other factors, so do not think that you will be taking award winning photographs with your hand phone.

Another good point with your smartphone pix is the ability to send your photos far and wide through social media. Before, you developed your film and then showed a final print to a circle of friends, now, with the capabilities inherent in the smartphone, you can send your photos to millions in the world.

The bad points have to begin with the almost universal fascination of looking at the small screen while walking along, not seeing anyone in front of you, in fact not seeing anyone else at all.

Another bad point comes with the photojournalism experience. You are there, you have the smartphone and you take the shots. But should you not have been helping, instead of recording? Assisting your fellow man in a time of crisis instead of recording your fellow man’s crisis? Very common with road accidents, which we all see every day. I know, it is a moral issue more than a photographic issue, but one that should be met.

Smartphones may have killed the compact camera, but also killed personal communication. Look at couples in a restaurant, flicking through their messages and not talking to each other. I particularly like the cartoon of a notice board saying “Sorry. No WiFi. Try talking to each other.” The other, where the waiter asks “Was there something wrong with your food? You didn’t take a photograph of it.”

The third demerit, as far as I am concerned is an acceptance of the mediocre. Smartphones just give you ‘record’ shots. An ability to change the depth of field has been lost. Stopping motion has been lost. In fact, any creative instinct is not transferred by smartphones. And if you really want something dreadful, try using one of those aftermarket “wide angle” lenses you stick on the smartphone!

One reason for the mediocrity is no restriction. Where with film you took 36 shots on a roll, you can now take hundreds stored in the phone. This means that where once you ‘thought’ about the images you were recording, now it is click, click, click and then flick, flick, flick looking for one that might be OK. What I call the blunderbuss system.

No, smartphones are here to stay, but this does not mean they are good instruments to take photographs. Happy snaps are not examples of good photography.

Update January 28, 2017

Back to black

Photos by Peter Brock.

Photography encapsulates art. Every picture, as well as being worth a thousand words, has some art message. And that brings me to the subject this week. Black and White, known more as the simple B&W.

Color photographs only became possible in the 1930’s, yes, about 80 something years ago, whilst B&W has been with us since the very birth of photography.

The stimulus for this week’s article came from Peter Brock, a photographer in Chiang Mai who wrote to me saying, “Peter Brock here up north in Chiang Mai. I liked your article about patterns by the way and one place we all incorporate patterns into our lives whether we are conscious of doing so. For example, the plates and tableware we use affects us, compliments food, etc., and yet few people are conscious of how patterns can make us feel.

“Anyway, I was thinking an article about when to convert an image into black and white might be good for people to consider. Here is the basic idea:

“So, something people might start thinking about at some point is whether color adds or detracts from the intention in making the image? A lot of famous portrait photographers still shoot black and white because the color can be a distraction from the intent of the photograph. When Richard Avedon was making images for an exhibition and book called "The American West", he shot all black and white images and even though he was shooting portraits in some beautiful countryside, used a white backdrop behind his subject so all the viewer sees is that person -- no mountains, lakes, streams, etc.

“I have been spending time at a ceramics workshop where I have been buying some tea sets and have been photographing the workers. The work is done 100 percent by hand and each is unique to the artist. For example, I have two mugs that I saw in a cabinet (not in the showroom) and I asked why they were not in the showroom and was told that they are no longer produced because the artist died 24 years ago and with him or her the pattern and skill to paint them. I bought them both for that reason. The whole process is fascinating and shows the incredible discipline of the artists as just one vase can take an artist a month to paint.

“Attached are two images: the original shot in color, and a virtual copy edited to black and white (and thank you Mr. Photoshop)! (It is not that long ago that I used to have two camera backs for the Hasselblads, one color and the other B&W film.)

“Okay, what I would emphasize to your readers is whether color or black and white suits their intention best. The colored shot is nice, pretty, and most people would leave it like that and be very happy that they even got the detail of the brush in focus. I prefer it in black and white for a couple of reasons: (a) the black and white emphasizes that this is an ancient technique and all hand done, and (b) the intention of the image is to the hand painting and the fine brush she is using freehand. If one looks at the photo with the colors, you can easily get distracted by the colors and begin thinking about whether that green goes with the orange or the blue or any number of other things.”

Thank you Peter, you are correct when you say the same subject printed in color or B&W does give a different message, and as photographers about to set out in a photo shoot they should have worked that out in advance.

Of course, as mentioned previously, there is now no need for two camera bodies, one in color and one B&W any more, unless you are a complete traditionalist (which I am not). Any edit suite has the conversion for you at a click away.

This weekend, take some of your favorite color photos and see the difference when you change from color to B&W. Sorry about the fact this column is on a B&W page of the paper, but try and imagine!

Update January 21, 2017

How’s your aura today? “Photograph” it.

Like the proverbial bad penny, Kirlian photography has had a habit of repeatedly popping up since the 1950’s, when a ‘scientific’ paper was published by a Russian couple. Originally Kirlian photography was a fad but had since died (I thought), but it hadn’t.

Kirlian photography is not new, despite all claims to the contrary. It should be more correctly referred to as the ‘Kirlian effect’ was demonstrated at the end of the 19th century and was then known as ‘electrography’.

However, it did not get the publicity it needed to catch on until Russian electrical technician Semyon Davidovitch Kirlian and his wife Valentina Kirliana published a paper in 1950 in the Russian Journal of Scientific and Applied Photography in which they described the process, now known as Kirlian Photography.

‘New Age’ followers seized upon this as being able to photograph the ‘aura’ of a person, and, at long last, show to the unbelievers that all the ‘bio-energies’ had a basis in ‘science’. Kirlian photography has been linked to telepathy, orgone energy, N-rays, acupuncture, ancient eastern religions, and other paranormal phenomena.

I am not going to get embroiled in semantics as to whether the Kirlian effect and the aura can be used for medical diagnosis (as is claimed), or whether Reiki practitioners have sparks coming out of their fingers when they are ‘healing’. However, I can reveal what is being recorded on film, and what you need to have your own ‘Kirlian’ camera.

First off, the Kirlian effect is ‘real’, but what is being recorded is not paranormal, but is a phenomenon called ‘Corona Discharge’. Corona discharge is seen in lightning and also the sparks that come off your fingers after you walk on nylon carpets. This used to be done as a party trick by Nikola Tesla (1856-1943) who used to introduce new discoveries with his body glowing and sparks flying from his fingertips. Tesla, by the way, was a brilliant inventor, and it was he who introduced the concept of alternating current, used today, rather than Edison’s direct current.

The corona discharge that is recorded by the Kirlian photographers requires the object being subjected to an electric current and the size and color depends upon moisture that is present on the skin, and this is why initially it appeared that inanimate objects did not give off a discharge as do animate ones. But they do, it was found later.

Terence M. Hines, a psychology professor says, “Living things (like the commonly photographed fingers) are moist. When the electricity enters the living object, it produces an area of gas ionization around the photographed object, assuming moisture is present on the object. This moisture is transferred from the subject to the emulsion surface of the photographic film and causes an alternation of the electric charge pattern on the film. If a photograph is taken in a vacuum, where no ionized gas is present, no Kirlian image appears. If the Kirlian image were due to some paranormal fundamental living energy field, it should not disappear in a simple vacuum,” he said.

One team that spent some time examining the Kirlian effect has found a list of 25 factors that can effect a Kirlian photograph, including thickness of the skin, recent physical activity, and yes, mental stress. All of these affect the amount of moisture on the skin. Other factors include voltage level, voltage pulse rate, atmospheric gasses, the internal force and angle of the object held against the film, and barometric pressure. In effect, a single person can come up with different ‘auras’ simply by changing finger pressure and the amount of moisture found in the skin. That’s the ‘science’. A very well-known Kirlian photography ‘experiment’ documents a leaf as it slowly dies. The initial photograph is taken when the leaf is freshly cut and shows a prominent glow. As the leaf gets older more photos are taken, which show that the glow is starting to weaken. This was once explained away with the life-force theory. However, we now know that the weakening of the glow is simply a result of the leaf losing water and drying up over time.

As for the psychic energy claims, you can make up your own mind!

Update January 14, 2017

Does your life have a pattern?

Who reads photography columns? People with more than just a passing interest in photography, that’s who. And since you’ve got this far, that definition includes you.

When you sit down and analyze it, in reality, you want to end up with photographs that others stand in awe of, that people want to copy, that people go “Wow! How did you get that?” and would be able to hold their own in any photographic competition.

It does sound as if you should be walking around every day, looking for the ‘scoop’ photo of the year. Of course, this may just be grandiose posturing on my part, remembering that despite the photojournalists creed of “f8 and be there” and the credo of the newspaper publishing business is, “News today, chip wrappers tomorrow.”

However, one type of photograph that never loses its appeal is one that shows the patterns in the everyday life around us. The eye is drawn to the pattern first, and then the brain recognizes what makes up the pattern. It is like finding a hidden object puzzle. It is really a psychological ploy – but believe me. It works to produce a memorable photo!

Never forget the effect of lighting in a photograph of patterns. Some good contrasty side lighting will emphasize the recurring shapes, to really push the point home. Sometimes it is the recurring shadows that produce the patterns. All it needs is for you to “look” and “see” and “record”.

However, if a photograph is to have lasting appeal, you have to combine something else with it. That something else is a discordance somewhere in the picture. Imagine a case full of oranges, the regular pattern of the oranges filling the frame, but one of the oranges is a green apple. Immediately the mind says, “Why?” and by doing that you have brought the viewer into your photograph. You have impacted on the viewer’s life. You have produced a photograph with “impact”. See once again how great shots are made, they do not just “happen”.

When I was involved in commercial photography, the team which would include art directors and the client as well as the photographer and assistant, would sit down and discuss the concepts to be presented photographically and then many hours would be spent on designing how to make the photograph “work”. This was long before anyone picked up a camera. Once the shot was visualized, the next job was to put it together and then see how it looked through the viewfinder. As I say many times, great shots are made.

So this weekend, keep your eyes open for repeating patterns – for example, the ends of blue plastic water pipes in plumbing supply shops and then work out how you can put an element of discordance into the shot. A yellow bucket hanging from the end of one tube perhaps? A cat sleeping in the middle of them all? A green frog? So it is difficult to train green frogs, remember that you can always purchase a toy green frog to use in a shot like this. Professional photographers do. Rub some oil on a plastic frog and sprinkle some glycerin drops on it and it will look real. I used to keep a complete wardrobe with replica animals for shots like that! One of my past photo-editors used to spend many hours poring over my photographs trying to work out which ones had real animals or otherwise (and that included fish).

But getting back to the patterns, this is really very much a visual exercise. You have to see it before you photograph it. It is an exercise in expanding your mind, your horizons and your imagination. It is also an exercise that does not need fancy photographic equipment to produce the spectacular end results. With producing successful pattern shots, even the simplest point and shooter will work. The magic is produced by your vision and nothing else.

So this weekend, pick up the camera bag and seek out some patterns, wait till the light is right and look for (or even add) that discordant image in the pattern. You will have produced a prize winner!

Update January 8, 2017

Have you met a nice mode lately?

I had reason to look at the Mode Dial on my camera on page 5 of the instruction manual. It is not the world’s fanciest camera, but has nine “modes”, five alphabetic and four of those funny little symbols, which I believe are called pictograms.

This week’s column is then designed for all the weekend warriors who have a nice camera, but are really are unsure of what all the controls, winking lights and strange icons mean, and when they should they bring these functions into play.

The first aspect to be considered, is why do we need all these optional modes and settings at all? Today’s very sophisticated cameras will take passable pictures in the everyday point and shoot mode, usually called the Program AE Mode and shown as the letter “A” mode, so why bother?

That one is easy to explain. It all hangs on the word “passable”. The automatic brain in your camera is pre-set to return “average” values and you get the same result in your photo – “average”. If you want a little more, or a little better, then you have to look at taking some more control of the camera by inputting data that you want, not what it thinks you want!

Let’s take the mode that I use most – the Aperture Priority setting. On most cameras this will be an “A” or “AV” and purely means that you set the aperture, and the camera will work out the shutter speed for you. Clever little camera isn’t it! Now when would you use this setting or function? Generally it is when you want to control the areas of your photograph that will be in sharp focus. This is called the Depth of Field.

The aperture is measured in “f stops” and with most cameras ranges from f2.8 through to f22. Now the easiest way to work out which f stop to use is by remembering the following dictum – if you want BIG depth of field (everything in focus) then use BIG f numbers (e.g. f22) but if you want SMALL depth of field, then use SMALL f numbers (like 2.8). So if you are going to take a landscape you use the “A” setting and you select f22. Likewise if it is a portrait of someone use “A” setting again and f4.

The next most popular setting is the “S” mode, otherwise known as “Shutter Priority”. Similar to the “A” setting, but this time you set the shutter speed and the camera will work out the appropriate aperture for you. Shutter speeds generally range from a slow 1 second through to a fast 1/2000th of a second, though some cameras are even faster. Now when do you want this feature? You need to set the shutter speed when you want to control movement of your subject. The dictum here is also similar – if you want to stop a FAST object (like a moving car) then you use a FAST shutter speed, but if you want to show SLOW movement use a SLOW shutter speed. All very simple, isn’t it?

Now experience will tell you whether you use the extremes of Aperture or Shutter speed, but generally if I want to stop movement I will use 1/1000th of a second and if some blurring is wanted to show motion, I use 1/15th of a second.

After you have experimented in manually choosing your own settings, then you will be ready for the next big step - selecting “M” on the camera. “M” is for Manual and here you dictate both shutter speed and aperture. This allows you to select “different” exposures to produce different effects. When on “A” or “S” or “Auto” the camera will give you an “average” exposure. But if, for example, you want a moody dark photograph at sunset then you need to manually set both the shutter speed and the aperture.

So this weekend, be brave and tell your camera who is boss! You will increase your enjoyment in taking photographs, and get some great photos as well.

Update December 30, 2016

Better photos in 2017

Photography is a wonderful pastime which can be enjoyed by people of all ages. However, the final results are not always enjoyed by the photographer. Here’s how to change all that!

Nowadays, everyone has a digital camera, point and shoot, bridge or SLR, and the following tips will help you get the most out of your expensive investment.

Of course you should remember that point and shoot varieties have limitations and SLR’s have advantages! The two types of cameras have their different capabilities, and you must stick within the parameters.

The first tip is one that I give to everyone at least once a year. “Walk several meters closer”! More good shots are ruined by having the subject as small dots in some huge background. Make the subject the hero. If the subject(s) are people, then use the telephoto setting and still walk in closer. Fill the frame with the subject and you do not need to worry about the backgrounds. Ever!

Another easy procedure is to use filters to warm up the scene, or polarize and add some intense color to the photo. “But my point and shoot digital doesn’t take filters,” I hear you say. Sure, but the lens is physically so small, it is easy to place something before it. Various colored sunglasses can both polarize and add warmth to the shot. You may want to put the camera on a tripod, while you hold the sunglasses directly over the lens. There are small ‘mini’ tripods you can use, which retail for around B. 200 and do the job admirably. By the way, the polarizing effect is most noticeable when you are shooting “with” the light, rather than into it.

When taking portraits outdoors, turn the flash on as well. The camera will have set itself to expose the darkest part of the scene, so the flash then brightens up the foreground subject.

Another trick to outdoors portraiture is to take some shots with the sun behind the subject to ‘rim light’ the hair with the halo effect. With the sun behind the subject, you also stop the screwed up eyes from the sun’s glare, which is never very photogenic.

You should also explore your camera’s capabilities. After all, you are not wasting expensive film, are you? Try different setting and see what the end result can be, but remember what the settings were in your notebook, if you want to repeat the effect!

One setting that most digital cameras possess is a ‘macro’ mode. Use this to discover new and exciting details in your garden. The macro mode is usually depicted as a flower in your on-screen menu. Remember that to get the best macro shots, look carefully at which part of the subject will be in focus. The depth of field in macro is very shallow, so note where the camera magic eye is indicating the focus point is, relative to the subject, before slowly pressing the shutter release.

Another very simple tip, but one that seems to be forgotten is the placement of the horizon line, which should be one third down from the top of the LCD screen, or one third up from the bottom of the screen. The horizon line (as the name suggests) should also be horizontal!

Another tip is to buy another memory card. The one you will get with the camera is too small. You will then try and put the camera in a mode which lets you take more shots, but this is done at the expense of sharpness. Buy a 4GB card and use the highest resolution you can. This way, if you do have a great shot, you can have it enlarged, and still be sharp. Another advantage of having two cards is you never end up with a full card and another great shot to be taken.

It should be remembered that when you bought this new camera because it had plenty of megapixels, unless you run the camera at its highest resolution, all the expense of the additional megapixel capability has been wasted. You got a 12 megapixel camera, rather than an old 8 megapixel for that reason! So enjoy your camera this festive season.

Update December 24, 2016

What camera and why?

The New Year holidays are almost upon us, and is as good a time as any to review your camera(s) and look ahead to 2017’s photography.

I am often asked “What camera should I buy?” This is not an easy question. The answer is almost as varied as the numbers of cameras available. It is not an easy call. A little window shopping at the camera store will show you cameras priced from 5,000 baht to 100,000 baht. That’s quite a range.

Forgetting price constraints and imagining that you want a camera to take “good” photographs of general interest; you know the sort of things, family, holidays, grandchildren and pets, then there is basically only two choices – Compact or SLR (Single Lens Reflex).

Let’s look at the Compact. This group of cameras has really brought the fun of photography to many people. In most instances, they are small, easy to use – basically ‘point and shoot’. Initially they only had one fixed lens of generally around 35 mm focal length, but these days, the more up-market models have a “zoom” capability covering the 28 mm to 100 mm range.

As far as focusing is concerned, most Compacts these days are fully Autofocus, though there are still some ‘fixed’ focus lenses around on the very cheapest models.

As far as shutter speed range goes, the modern Compacts will go to around 1/400th of a second which is enough to stop most action and they will go as slow as around a 1 to 2 second exposure.

Size does matter, with cameras at least, and most Compacts are small enough to slip into a handbag or pocket which is another decided advantage over the SLR brigade.

On paper then, it looks as if the Compact has everything going for it. Why even consider an SLR? Well, there are some areas where unfortunately, the Compact falls short. The first is the restriction in lenses. A compact will not do you much good if you want to do wildlife photography, with only around 100 mm telephoto ability. You need to be able to get ‘close-up’ without being too close to the man eating tigers.

Another area where the Compact is limited, is in the use of filters. To get those really rich and vibrant colors, it is necessary to use such devices as Polarizing filters – there is no provision for the use of filters with the majority of Compacts.

Most Compacts also come with their own inbuilt flash and while it is adequate for most night or low light level shots, it does have limitations. Adequate is the operative word.

So what about the SLR group? With this type of camera, you actually look through the camera’s lens when composing the shot. What you see is what you get (WYSIWYG). You have a huge range of lenses to choose from, both original equipment and aftermarket brands, to take you from ultra-wide (16 mm) through to huge telephoto lenses of around 600 mm which you can use to photograph the tigers eating, without getting so close to the action you end up on the dinner menu as well.

SLR’s also have greater ranges of shutter speeds, from time exposures of any time you like, through to 1/4000th of a second. The range of aperture settings in the lens are also greater in the SLR group – and, even more importantly, you can dictate the settings you want.

That is where the principle differences lie – with the compact, there is little you can fiddle with to experiment or manipulate – with SLR’s the sky’s the limit.

With all these creative possibilities, why would you ever bother thinking about a Compact? Well, the SLR does have some disadvantages too. Size and weight are two principal ones. An SLR is not the camera you put in your handbag unless you have a very large receptacle and a couple of porters to carry it. By the time you add up two camera bodies, three lenses and a flash you are looking at quite some weight, especially with the semi-pro equipment. One photographer of my acquaintance has to drag a suitcase with him, just to have the best lenses at his disposal.

Set your budget first and go from there.

Update December 17, 2016

Simple things to make better photographs

I once showed my latest batch of photographs to a friend and was told, “You were certainly having a bad hair day then, weren’t you?” Now since I nurture this concept in my mind that I am an artist, criticism of my art can hurt. Like down to the quick. But I am also resilient – in this business you have to be.

However, criticism is the Mother of Excellence, and we should never be afraid of it. This can be difficult when you have the deeply inbuilt conviction that there are only two sides to any discussion, yours and the wrong one! To improve, you have to be able to look critically at your own work and see what you can do to improve your standard. You also have to look at the work of others to see what made their work excellent.

Photography and photographs are judged by the subjective response of the viewer. They either like them or they do not. Successful photographers know how to take photographs that are more pleasing to the majority of viewers than otherwise.

This ability is not something that they were born with – it is something they learned over the years. This skill is yours for the asking. Believe me!

One of the greatest sources of all knowledge is in the written word. There are lots of books published to assist the novice photographer who would like to improve. Never go past a book shop without looking in the photography section.

There are three authors I can really recommend. John Hedgecoe, Michael Freeman and the Kodak “How to take better pictures” series. All of these books are written in plain English, without excessive use of photographic jargon. Sure, you have to know how to recognize your f stop from your elbow, but you should know that already. (If you don’t, write to [email protected] and I will send you the answer confidentially in a plain unmarked brown paper envelope.)

Here is a simple and easy way to change your photographs for the better this weekend. This week’s hot tip – place the subject of the photo to one side rather than dead set plumb in the center. Ideally this should be one third in from either side, but just not putting it in the middle is a start. Now, working on the knowledge that westerners read from left to right – you will find they “read” photographs the same way. So items in the left of the photograph represent the past and items in the right represent the future. Still with me? Take a picture of a car on a road for example. Place the car pointing to the right in the right hand side of the picture and it means the car is going away. All the items in the left of the shot have already been passed and left behind. Conversely, place the car in the left of the shot and the car has not yet reached the items on the right.

Now imagine a photograph of a hitch-hiker with the car shot. With the person on the left and the car on the right, the car has passed, and the hitch-hiker has been unsuccessful and this is presenting a “sad” photograph. With the person on the right and the car approaching from the left, the hitch-hiker is still hopeful. A “happy” shot. Your shots can present emotions.

Can you see just how your photographs can tell a dynamic story, even though one still picture only represents a fleet split second of time? (Probably 1/125th of a second!) Just by offsetting the main subject you have managed to improve and add interest to your photograph.

The books I have recommended will all give you ideas on ‘how to’ take different photographs of objects, but only you can inject the emotions by careful placement of the subject material in the frame.

All these tips, and lots more are available in the bookstore and it makes good sense to buy a couple of decent reference books. In the meantime, place your subjects off-center this weekend and see what you get. Happy snapping.

Update December 10, 2016

DSLR photography

While the photographic world has forsaken film and gone digital, there are some situations where you need a DSLR, and not just a point and shoot (or the dreaded camera phone).

The first refers to the placement of the image in the frame. This is where the ability to instantly review images in digital photography is so good. Look at the image in the viewer on the back of the camera and see if it can be improved by different placement of the subject within the frame. Remember the ‘Rule of Thirds’ (place the main subject one third of the way in from either side and one third of the way up or down from the top or bottom of the picture). This is a tried and true rule of thumb and you can try it out so easily with digital photography. It may feel ‘wrong’ initially not having the subject slap bang in the middle of the frame, but try it and you will find you are getting better, more pleasing pictures.

While still on the subject of the overall image, don’t forget to take each shot two ways – in the landscape (horizontal) format and the second in the portrait (vertical) format. Again it sounds strange to shoot a landscape in the vertical format, but it gives the viewer a different emphasis, which can improve an otherwise ‘ordinary’ shot.

With most digitals having reasonably good zoom lenses these days, experiment with different zoom settings and distance from the subject. A ‘tele’ setting can give you a very different photograph from the ‘wide’ setting taken closer to the subject. This ability to experiment, at the time of shooting, is one of the biggest plusses for digital photography.

One of my standard tips is “Walk several meters closer”, and by doing this you will find that you can make the subject fill the frame (to even overflowing) and get rid of horrible distracting backgrounds.

You can also see the difference in the backgrounds between shooting at f2.8 as opposed to f16. The larger aperture (f2.8) gives a blurred background, which is exactly what the ‘portrait’ mode does. Many of the tricky settings are just automatic combining of different apertures/shutter speeds, and a general knowledge of first photographic principles will always help your photography too.

Photography is in reality ‘painting’ with dark and you should never forget this. The position of the subject, relative to the sun (the celestial lighting technician) can make or break your photos. The amount of contrast in any scene can also baffle the digital sensors so they will try to balance out the contrasts which can spoil the effect you were trying to create. If your camera shows you those dinky little histograms, you can soon see if the light is biased in any particular direction.

What you have to do is try and balance bright or dim light. In low light conditions, try using your camera’s night shooting mode, or lower the ISO to 50 or 100 to get some detail in low light. Also look at trying to use a tripod, or steady yourself against a wall or pillar to avoid moving the camera.

In bright light, try your camera’s Beach or Sunshine mode, or go to manual mode and choose a fast shutter speed to control the amount of light that comes in.

Be careful if you place your subject in front of a bright window or they will become a silhouette. Try placing them off to the side of the window instead, or facing a natural light source.

For better photographs indoors, turn your flash off. Try to maximize the light by pulling back the curtains, opening doors and turning on the incandescent lights in the room. Sure, you will have slower shutter speeds and you may have to look at using the tripod, or even just holding the camera firmly on a table, but you will get more natural photographs.

Finally, practice getting the ‘decisive moment’ by partially depressing the shutter button when taking candid shots. This means you are not waiting for the camera to focus, before the shutter fires. Or simply set the focus manually.

Update December 3, 2016

Photography at 1/15th

This week’s column is dedicated to the DSLR users, rather than the compact users and certainly not the camera-phone folk. Don’t get me wrong, compacts and camera-phones will give you images, but not the equipment you can experiment with.

Let’s take the number 15 as an example. The simplest 15 is shutter speed, and almost every camera ever made has a setting called “15” which stands for 1/15th of a second. This is probably the most underused shutter speed ever, and yet it can help make your photographs very much better.

There seems to be an idea in the photographic world that anything slower than 1/60th of a second cannot be hand-held, and you must use a tripod. This is tripe - unless you have some medical condition resulting in uncontrolled shaking spasms.

The reason to use 1/15th is to expand the light range in which you can take shots without flash, such as sunsets for example, or to bring out the background, even when using flash. You know the shots taken at a function where you get someone looking like a startled rabbit in blackness, where if you had used a 1/15th shutter speed you would have got a nice mellow background to soften the picture.

Of course there are a few tricks to hand-holding at the slower shutter speeds. The first is to steady yourself and that can be done easily by leaning against a wall or a pole (preferably not a chrome one attached to a go-go dancer). The second is to hold the camera firmly in both hands, take a breath in and hold it and then gently depress the shutter button. I have even shot at a second by holding the camera firmly pressed down on the back of a chair. Take a few as some will have obvious camera shake, but you will get at least one good one.

Still on the number 15. There is a theoretical f stop which could be called f 15. F stops after all are only a way of measuring the diameter of the aperture inside the lens, to bring it to its simplest terms. As you go through the usual f stops of f 8 to f 11 to f 16, you are actually cutting the light down by one half each time. The f stop scale is also an inverse ratio, as the bigger the number, the smaller the diameter. There is a good mathematical reason for this, but just believe me.

If you really want to get technical, for example, f/16 means that the aperture diameter is equal to the focal length of the lens divided by sixteen; that is, if the camera has an 80 mm lens, all the light that reaches the film passes through a virtual disk known as the ‘entrance pupil’ that is 5 mm (80 mm/16) in diameter. The location of this virtual disk inside the lens depends on the optical design. It may simply be the opening of the aperture stop, or may be a magnified image of the aperture stop, formed by elements within the lens.

The f stop scale is a sliding one, allowing for fractional differences in the light allowed through to the film (or the digital sensors). Most old cameras had an aperture scale graduated in full stops but the aperture was continuously variable allowing the photographer to select any intermediate aperture, and thus it would be possible to shoot at f 15.

The continuously variable aperture cameras slowly disappeared, with ‘click-stopped’ aperture became a common feature in the 1960’s; the aperture scale was usually marked in full stops, but many lenses had a click between two marks, allowing a gradation of one half of a stop.

On modern cameras, especially when aperture is set on the camera body, f-number is often divided more finely than steps of one stop or half a stop. Steps of one-third stop (1/3 EV) are the most common, since this matches the ISO system of film speeds. Enough technical details! Time to just believe me again.

Finally, a rather obscure photographic 15. The AA lithium batteries that power many cameras and flash units weigh 15 gm.

HEADLINES [click on headline to view story]


Weaning children off ‘selfies’

Photographic “stuff” you ‘might’ really need

Man Ray the emancipated photographer and Kiki, the emancipated woman

Oh No! It’s Songkran again!

Using new technology with old

There is so much more to photography than record shots

Lighting can be enlightening

The shot of a lifetime

The irrepressible Andy Warhol

Gerhard Joren and his exhibition of worthless images

Selfie and then food

Project 12, 26 and 52

Good points and bad points with smartphones

Back to black

How’s your aura today? “Photograph” it.

Does your life have a pattern?

Have you met a nice mode lately?

Better photos in 2017

What camera and why?

Simple things to make better photographs

DSLR photography

Photography at 1/15th



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