On another note,  it never gets old seeing tangible work whether it be prints or publications.  It gets the satisfaction bubbles flowing.

It reminds me that Ansel Adams had a three book series: The Camera, The Negative, and The Print.  If republished today, Adams would have to rename his books to The Camera, The Digital Negative, and The Internet. Oh how the digital age has torn the photographer away from printing!

Here is my call to action to anyone with a camera:

If you haven’t printed a photograph for yourself in the past month, pick out a favorite (preferably one never printed before) and print it.  It doesn’t matter if it considered fine art, client work, portraits, or just a common family photo; just pick one. Make the print a 16×20 or bigger.  Buy a frame. Hang it in a commonly used space in your living quarters. Enjoy.

Grace and Peace

More expensive, higher mega-pixels, bigger sensor, quicker frames-per-second is always better, right? I will argue that when considering the best photographic “upgrades,” equipment that seems lacking technically may be the most appropriate.

From roughly the 1890’s to about the 1950’s, large and medium format cameras were the mainstay of photographers. Names such as Ansel Adams and Richard Avedon deployed these cameras in and out of the studio. The common 8×10 inches, 4×5 inches, and 120 format films provided an enormous amount of information and detail which allowed for large, occasional life-sized, tack sharp prints. But while these film types and cameras rendered superior quality, they were clumsy, large, heavy, and slow to deploy. These characteristics made for capturing spontaneous and fleeting moments almost impossible to photograph without much forethought and preparation. But during the 1920’s-1930’s, a new line of cameras and a French photographer were dedicated to capturing the “decisive moment.”

Although the 35mm film was in use before the now legendary Leica cameras, it was the Leica that popularized it. While the Leica’s optics and quality made it suitable for professionals, its compact size made it easy to carry and deploy (“point and shoot” if I might say). This quick fire camera was ideal for master photographer Henri Cartier-Bresson who desired to capture the what he called the “decisive moment.” Cartier-Bresson, with his Leica and 50mm lens, has been credited with creating what many photographers refer to today as “street photography.” Prowling and stalking the streets, he would search for interesting moments while maintaining supreme composition. One of his greatest images, “Behind the Gare St. Lazare,” which depicts a Frenchman jumping over/into a large puddle of water, was taken through a gap in the fence. Imagine attempting to capture that spontaneous moment with a large or medium format camera. For Cartier-Bresson, the 35mm Leica with a smaller negative format, made it possible to photograph his many iconic images.

“For us the camera is a tool, the extension of our eye, not a pretty little mechanical toy. It is sufficient that we should feel at ease with the camera best adapted for our purpose. Adjustments of the camera – such as setting the aperture and the speed – should become reflexes, like changing gear in a car. The real problem is one of intelligence and sensitivity.”

-Henri Cartier-Bresson

Now I understand that digital sensors are a newer technology which have quickly evolved, making the “lacking” 3 mega-pixel sensors obsolete. But with the average consumer point and shoot camera floating at 10 mega-pixels, is being able to print solid 4×6 and 5×7 prints a concern? How often does the average photographer print over 5×7 or even print at all? Does even a 10 mega-pixel sensor matter if the pictures are to be uploaded to Flickr at 600×400 pixels (which by the way isn‘t even equivalent to 1 mega-pixel)? So let us forget about mega-pixels and focus on the other technical limitations of the camera.

We need to remember that photographers create photographs. This seems obvious, but often when it come to equipment, we tend to be collectors of “toys“ rather than creators with “tools.” All photography equipment contains weaknesses, so is imperative that we consider the technical limitation of every piece of equipment and choose the most appropriate piece for our purpose just as Henri Cartier-Bresson did with his 35mm Leica and 50mm lens. Sometimes this will mean purchasing relatively less capable equipment that better suit’s a given photographic situation. So as I opened, when considering the best photographic “upgrades,” equipment which seems lacking technically may be the most appropriate. If your current equipment is appropriate and changing settings has become an extension of your arms, then “feel at ease” and don’t upgrade. Go capture those “decisive moments” until that camera breaks, then upgrade.

“Photography has not changed since its origin except in its technical aspects, which for me are not important.”
- Henri Cartier-Bresson

Grace and Peace

Elegant Grace by John Robert Pennington Photography

This image concept has been lurking in my noggin for a month or so.  It was time to take the idea from the electronic receptors of my brain to the electronic sensor of the camera.  So here is how it was made.

Soft elegant lighting is the goal.  In order to achieve solf lighting two characteristics of light need to be present.  One, the light source needs to be big.  The larger the light source the softer the light.  Second,  the closer in proximity the light source is to the subject, the softer the light. With these two elements in mind, my chosen location was the garage.  A wide open garage door allows for the shade to provide the soft light and the added bonus of bouncing light photons off the white concert driveway.  Since the main light (the sun coming into the garage)  is angled straight on to the subject, we need to help warp the light around her head. For this I used three white reflector panels.  Two reflectors where placed on the left and right of the subject’s head and one in the center aiming up towards the chin. These three reflectors are intended to fill in any shadows that would have been present on the subject, such as under the chin.  As for the background, so that all the refried beans and canned soup would not be visible, I put up a black seamless background paper. Cool beans!

Now for the diagram for the visually minded:

The Elegant Grace light setup by photographer John Robert Pennington