 Piper Lehman |
Competence Hello anyone who'll listen to my pity party. I am having a discouraging time here. Just picked up my photos from the lab and almost broke down and cried right in the shop they were so disappointing. I look at the wasted film and all that money and then look at my prints and think, what the hell were you shooting? Why did you take *that* picture? As far as the quality of the photography itself, it would be easy to blame everything on my equipment and/or film choice, exposure choices, etc., and I do see a lot of exposure/flash mistakes--mostly I'm wondering if my desire to do this is enough. Is the desire to learn enough? Is it possible to never be competent no matter how much you read and analyze other photographer's work and try to implement those tools into your own photography? Okay, I'm done venting. Never mind me. I get this way every time I go to the lab. I'm off to shoot at the lake again this weekend. Wish me luck and patience! I CAN DO THIS, DARN IT! };]
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doug Nelson |
Hey, Piper, damn right you can do it. You HAVE done it; we've seen your Gallery. I've been photographing off and on for 30 years. I often have your reaction. You have to try everything. After a trip to Savannah and Charleston, I shot 3 rolls of 36. I'm happy with three slides! You're doing it right. Try whatever you want to do. Not everything works. I'm more disssatisfied with color prints than anything else. Why? The printing machine does what it pleases with my tones and colors. Sky usually looks washed out and, lo and behold, the negative shows nice detail in the clouds. Ever shoot slides? Try Provia 100? What you see is what you shot. Shoot B&W and take control of your contrast and grain. Don't be discouraged. Are you trying TOO hard? Take a hike, see a movie, get away from it for a while. Hope this helps.
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Piper Lehman |
Thanks, Doug. I needed that. Pathetic, aren't I? You are so right about prints. I asked the lab not to make prints on my next batch--all slides. I just started shooting with slide film--haven't gotten any back yet. Keep you fingers crossed! Thanks again for the lift. I just wish I could find someone here to go out and shoot with. I can't just jump up and go like a lot of photogs I know of. I have to plan the trip--got responsibilities--bummer, eh? Thanks for listening to me whine.
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doug Nelson |
OK. Treat yourself to a big dose of Ansel Adams, Cartier-Bresson. Go check out the nature shots of Reichmann and all his guest photographers. Look at these Galleries. Don't over-analyze, just enjoy. Your reasons for liking and disliking an image are yours and are valid. Look at paintings, especially the Impressionists - art books are fine. When you're ready, go back to shooting. Make aperture adjustments and depth-of-field manipulation as natural as tying your shoes. The day's gonna come, believe me, when you KNOW you're getting the shot you want. You'll just know. It will flow from you; you can't force it. You'll be fine if you have fun and don't take it so seriously. Photography is just one great thing in the world among many. Don't neglect all the others.
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Jaymes R. Stuart |
Piper... if you want to boost your photo skills and perhaps your self-confidence, get a digital camera. Digicams are an instant crash course in photography. Shoot a scene at 8 different apertures, 6 different shutterspeeds, flash, fill flash, no flash, hand held, on a tripod, color, grey scale, tungsten balance, fluorescent balance...throw it all on your 'puter and sort it all out. Because you get instant -- and detailed -- feedback, you'll learn more about fine-tuning exposure, flash and other technical aspects in one week with a digital than in a year shooting film -- and everything you learn applies to every other aspect of photography. I was a when-will-I-ever-get-this-righter too, until I got a digicam. Now at least I know what I don't know!
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doug Nelson |
Interesting point, Jaymes. My interest in photography got a new lease on life when I began doing digital. At age 50 I finally learned what contrast and exposure are all about. You have more control over your work, and the process of arriving at a pleasing image is less tedious-no chemicals, no mess. HOWEVER, I shoot conventional film and scan from the negative. I get better resolution that way than from any but the most expensive digital camera. I get more bit depth in the color, meaning that I can tweak exposure and contrast with more color information to work with. Few if any digital cameras (except digital SLR's) can equal the optical quality of the least expensive Nikkor or Leitz lenses. If a serious photog wants to go digital, I'd recommend something in the class of the Canon G2 or Olympus E20N. But for what they (and memory cards) cost, I could get Nikon's newest film scanner. New equipment won't fix all of anyone's problems, but, as a traditionalist, I must concede that digital has all the merits you cite. Now if you learn conventional with a manual camera BEFORE you go digital . . .
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Piper Lehman |
Jaymes, that's a good idea, but I don't think spending a grand or two on a decent digital SLR is the most economical way to learn traditional photography in my case. I own a digital point-&-shoot, and it does come in helpful for certain shots--to check lighting before I shoot with my 35mm. Good advice if one can afford it. Maybe next Christmas. By the way, I am taking Bryan's workshop. Anyone else going to join me? I'm really looking forward to learning from Bryan and also from the rest of the class. It's going to be great. If you haven't signed up yet, please do so! (Jaymes, the workshop was my Christmas present to myself this year.)
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Phil Penne |
Gee, I dunno Piper - I've seen the shots you've posted; Golly, must be a pity to be so lacking in talent [grin]. Trust me (any everyone else) - you do some fantastic work! I believe any photographer who doesn't occasionally feel their work is woefully lacking is...well, not much of a photographer. Everyone is their own worst critic. It's what keeps us honest, and hungry to create better and better pictures. I've just picked up a camera again after 10 years; I feel like I'm having to learn everything all over again! I've got 3 more rolls I just got back; of the 72 shots, I scribbled condemnations on the backs of 90% of them - "too dark", "too busy", "fuzzy". Friends and family pick up the same shots and think they're great - go figure!
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Amanda |
Doug may be right about trying too hard. Sometimes when we try too hard, we do get sick and disappointed and all that. A few months ago, I took part in a competition that is held on the national level arranged by my photographic club in the university. I was satisfied with my submission until the day I helped out in labelling the competition prints and saw how amateurish my prints looked, and what a long way I am lagging behind. From then, I shunned photography for a period of time. But I got a new lease of life when (fortunately)I was asked to take photographs for a concert. It was great when I saw people deriving pleasure in looking at the pictures I took. Ever tried concert photography? If you have the chance to, ALWAYS GO FOR REHEARSALS IF ANY. THEY ARE A GREAT BOOST TO YOUR CONFIDENCE AND SKILLS. Because the rehearsal lighting conditions will likely be similar to the actual day, you can analyse your rehearsal mistakes and adjust accordingly for the final day and you will be surprised at how much you actually improve. Concert photography also gives you good practise in low-light conditions. If you feel tired out, give yourself a break and when you return, try something new. And mix some patience with your effort. All the best.
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Richard Ujhely |
Piper, I'm just fanatical amateur for this really expensive hobby, but I thought the pictures in your gallery were fantastic. I find that if I only get 3-4 really good ones from a roll of 36, that may be alot. I have found that experimenting wastes a lot of film, but I learn. I have also found that taking classes here in NY has helped me tremendously. One of the things I learned in my B & W class was that snapping the picture is only half of making a good print. There are some many creative tools you can use in the darkroom (or digitally - but here I am a complete novice there). I wouldn't lose confidence. I have also found that I have become a lot more critical of my pictures. I gave some of my "bad" pictures (w/ some good ones) to some of my friends who were in them (really just 'cause I didn't want to throw them out). I later found them framed and on a wall! Maybe you're being too critical! But based on what I saw, you're not lacking talent!!!! Good Luck!
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Piper Lehman |
Thanks to everyone who has commented here. I realize I'm probably my own worst critic, but I'm also cursed with knowing (the rules) better than I am able to implement at the moment! I guess that's what really burns my ...well, you know.... I think my biggest problem is shooting without thinking, which I will say I'm getting better at lately. I sometimes get so excited about that great shot I know is there, I'm clicking away before I stop to think about the best way to capture what I see. I'm also so green in using all my gear that I always feel like I'm wasting time getting everything set up, i.e., tripod, the right lens, the right film speed, etc. It all comes rushing in at once, and I can't quite sort it out in rational fashion. Maybe I should devise a checklist for myself. Anyone have one I can borrow? And what's the deal with how fast the freaking sun sets?! Doesn't God know I'm busting my hump to get that shot? Geez. Thanks all! :)
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Phil Penne |
One little quick-and-dirty checklist you can use is to think FAST: F ocus It's kinda' dopey, but it's amazing how many shots it has saved me.
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Jaymes R. Stuart |
Everyone has a formula. Here's mine: Prepare. What cameras/lenses/film/settings will get me the shots I want from the situation I'm walking into? Predict. What are people likely to do and how will I capture it? Produce: How will I get the maximum number of solid shots given the above?
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David B. Vasta |
Piper you do great work, but I may be a bit late on this post, butthe problems you have is why I moved to digital. No more lab, and I can have everything on my laptop and work with RAW. I still love your work and hope to see more.
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- Carolyn M. Fletcher  Contact Carolyn M. Fletcher Carolyn M. Fletcher's Gallery |
As for people to shoot with, are you still in the Dallas area? There are a LOT of BPers in that area, surely there must be somebody to shoot with! I told you to come on up here to Okieland, but you Texans do like your own state. LOL.
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