Photography in changing light

When trying to photograph a city, one basic step to avoid missing good photographic opportunities is to have your camera out and ready. Camera bags and lens caps are useful for transportation between cities, but they are not things that you should have between you and the subjects you are hoping to photograph.

In a similar vein, it is wise (and good practice) to adjust your camera settings whenever there is a major change in the light around you. When you leave your hotel, for example, you might want to switch to a low ISO setting like 200 or 100 because it is bright outside. Along with that, some suitable settings might be a medium aperture like f/8 or f/5.6, with shutter speeds set automatically via an aperture priority mode.

If you then move from the bright day outside into somewhere indoors and dark, you probably want to open up your lens to f/4 or f/2.5 (or even f/1.8 or lower if it is really dark) and bump the ISO to a level that provides acceptable shutter speeds.

Changing your settings whenever the light changes accomplishes two useful things. In the short term, it sets you up to immediately and effectively photography anything you see. In the longer term, it builds familiarity with your equipment and with photographic settings. Once you have that, you can change settings on the fly more easily when truly unexpected circumstances suddenly arise.

Night of Dread

Yesterday, I participated in the novel, engaging, and pleasantly pagan festivities at Toronto’s Night of Dread. Put on by the Clay and Paper Theatre Company (whose work I have photographed before), the evening involved both small and gigantic representations of fears including ‘corruption’, ‘nuclear war’, ‘selfish leadership’, and ‘lack of stability’.

Accompanied by drummers and brass instruments, a parade marched out from Dufferin Grove Park and out around the neighbourhood before people assembled to see some of the fears burned atop a massive bonfire, followed by more music and special bread. I can’t explain exactly why, but seeing families and children at the event was comforting and encouraging. It may have something to do with the act of physically coming together within a community, making art, and participating in a non-commercial spectacle together.

The sense of history that accompanies gathering around a fire is also a comforting reminder that humanity has always had troubles. It is easy to look at woes from nuclear meltdowns and tsunamis to wars and currency crises and think that we are living in the worst of times, or even the end of times. Gathering in a manner that would have been recognizable to people from thousands of years ago drives one to think about all the fears, misfortunes, and tragedies that have afflicted the world across that span, and it kindles a hope that we might overcome (or at least continue to contain) the dangers and sorrows that exist now.

The symbolism may not be sophisticated, but it is rather satisfying to see enormous representations of fears marched around and eventually burned. The pyrotechnic element reminded me of Luminox.

Should I switch to Aperture 3?

I now have a Mac running OS X Lion and, unfortunately, it cannot run my old copy of Photoshop CS.

Buying Photoshop CS5 is awfully expensive. Even the student and teacher edition is more than $300, while the Creative Suite is more than $500.

Aperture is only $80 from the App Store. What’s more, I would be allowed to install it on any Mac I own.

From what I have read, it definitely has better native RAW support than Photoshop CS (I don’t know about CS5).

It would mean learning some new software and probably losing some capabilities, given the degree to which Photoshop is a more comprehensive and sophisticated piece of software. Still, it might be worth trying in the interim. If it turns out to be unacceptable, I can start saving my pennies and waiting for Photoshop CS6 to be released.

Wedding photos: Olenka Slywynska and Andrij Harasymowycz

I am in the process of uploading photos from my cousin Olenka’s wedding, which happened last Sunday.

Most were taken using Canon’s 50mm f/1.2 lens, using available light. They aren’t quite as sharp as flash-lit photos generally would have been, but I think they look more pleasant and interesting than most flash-lit shots (especially any that rely on a flash positioned on the same axis as the lens, as with on-camera flashes and hotshoe flashes pointed straight forward).

Computational photography – Synthcam

I have been experimenting with an iPhone program called SynthCam which is intended to produce interesting focus effects (using synthetic aperture) and reduced noise in low-light images.

It isn’t the easiest program to use, but it does seem like it could produce some interesting effects – particularly when it comes to intentionally limiting depth of field, which is a limitation of the standard iPhone camera.

This article has much more information on the concept behind computational photography and the current state of the art in the field.

Alternative ways to pay the rent

Previously, I wrote about why photography may make a better hobby than a career. I still think the points made there are valid, but I have been finding myself thinking about my options for the future and trying my hand at commercial photography and photojournalism is an option that is not entirely lacking in appeal.

It seems plausible that there will be a demand for photographers for the foreseeable future, even if the world becomes significantly poorer and less stable for whatever reason. Even as high-definition video capabilities proliferate, photos continue to have relevance and importance.

Indeed, the ability of photography to contribute to the social and political evolution of society is one of the more intriguing and appealing things about it. Photographs have power, in that they change how people think about things. Standing in the media pen in Washington DC, surrounded by police officers with guns, I made a mental note about how the still and video cameras in the hands of the journalists present were actually the more powerful tools that day – they actually had some effect on what happened, and the consequences that arose from it.

As a photographer, it would be necessary to hustle and market myself quite a bit in order to get enough work to live tolerably. There is also the requirement that you satisfy the preferences of clients rather than your own aesthetic preferences. Still, it is a possibility that could allow for significant personal freedom, which would be welcome.