LifeIn35mm
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Correct. My camera's light meter doesn't really know how to meter light however. I sent it in to get repaired so underexposing should not be a problem in the future.
8pm? You must have used a tripod then?
Maybe you can get a second body as a spare. In your case an Canon FD. Look up KEH.
Jeff
As you work with film, get to know what it takes to make correct exposure - for your purposes.
For mine, for example, black and white negative, I tend to use 2/3 f/stop more exposure than the film ASA/ISO speed. There's lots of threads on that, but my thoughts are - the ASA speed is for the minimum exposure to get the shot... and if you use a tripod you don't need the minimum exposure.
Once you know you can give a little more than the minimum exposure, you can start getting richer, fuller negatives. (Positive film - slides - requires a different tactic, there you don't want to overexpose the highlights).
I liked your two neon sculpture shots too. From the thumbnails I thought maybe the first was night-time neon, handheld and moved... And the second looked very much like seaweed at an aquarium.
But the fountain neon, looked a bit underexposed. For negative film, you don't have to underexpose to get a dark look... Because there is a printing step. You can print anything down.
Yea my Canon meter was misreading. I kind of like the grainy look underexposing gives though, could be interesting if used in the right situation.
Thanks for the tip but I have a Pentax K1000 as a backup. Do camera's from KEH come with a CLA? If so I will buy from there is one of my camera's completely breaks.
I would like to start off by thanking you for the time you put into this comment. I actually did not use a flash on #11, it was just a sunny day and the sun was shining in. I had to open up the aperture because it was so dark inside the building. Could I had done something to avoid this brightness?
RE: KEH
Their cameras are NOT CLA'd. But they are guaranteed to work properly. For six months I think, but you'd need to check on it. A lot of the cameras they sell are cheaper than a CLA would be.
I find that my best pictures happen when I am sure of the subject and have done my best to eliminate everything but that subject from the viewfinder. This may mean getting closer, or moving away, up, down, left, right. Something catches your eye and you know there is a photo in there somewhere.
So now that there are 63 posts on the thread, I may as well bring this up ...
We want to encourage you, but we also want to ensure the continued viability of APUG.
So we would suggest that you subscribe to the site, and then make use of the critique gallery for this purpose.
The cost is low ($24.00/year) and access to the galleries, as well as the ability to post items to the classifieds, makes it very good value.
Commercial over.
As far as getting value for your critiquing dollar, it may be you will get more if you submit either single photographs or a related series of photographs.
Keep having fun!
I waited until after the people who know what they are talking about had a chance to respond. I find that my best pictures happen when I am sure of the subject and have done my best to eliminate everything but that subject from the viewfinder. This may mean getting closer, or moving away, up, down, left, right. Something catches your eye and you know there is a photo in there somewhere. Most of your shots, like most of mine, don't really capture what I was seeing because I didn't examine the subject long enough to figure out just what it was.
As others have said, READ, READ, READ. Get any book you can find on photography that was written some time before 2000. You won't find much worth reading about film photography in a library or bookstore, because nobody wants to read about it any more and so the books are gone. I have a whole bookcase full of books bought at thrift stores like Goodwill for about $1-2 each. Books full of photos by the great and not so great, instructional books, photographic history. All of them have helped. And of course, you found apug.
I have loved shooting film ever sense my high school photo class stared. This was around January I believe so I am quite new to photography and I would like some advise from others. I do not know where to post this so I apologize if I posted it in the wrong place. Here are my photos, thanks!
LifeIn35mm said:And please be as brutally honest as you can.
You've got a lot of good advice here, and kudos to you for asking for honest feedback. Most people's egos can't stand real critique but it is the fastest way to grow, IMHO. Very painful, but effective.
Anyway, there are technical issues that people have covered, e.g. under-exposure. That's easy to fix because it's mere craft, i.e. learning how to accurately measure the light to get the result you want is a mechanical process that anyone can learn, it requires no originality or synthesis on your part. You get a light meter, you learn what the film can and cannot record and you learn to make good exposures. For this I think a digital camera is an excellent tool because of the instant feedback; getting a roll of variably bad images back a week or month later will teach you very little. Get a cheap old DSLR, put it in M mode, do your metering and make an exposure. If it's wrong, learn why it was wrong and don't make that mistake again. You should be able to learn this very quickly, though you'll probably have the occasional slip-up every now and then on a difficult scene.
Once you've got better control of your materials, you need an understanding of light. This one is harder, but not real hard because you can still get it all from textbooks. You need to know about how light provides shape, texture, contrast, subtlety or drama. You need to know about the differences between hard light, soft light, specular light, ambient light, collimated light, etc... both the technical differences in terms of how the light is propagating and how to either make or find that kind of light but more importantly, why and when to use the different kinds of light to (de)emphasise various aspects of the physical items in your scene. How is the light different on a clear or cloudy day? Why is the golden hour pretty? Lots and lots of concepts to soak up here, most of which interact interestingly with the film's behaviour, but it's all well-understood and not particularly difficult to apply. You have much semi-technical reading ahead of you here, and there is a huge amount of good information and advice on the internet as to how to analyse and control light. It's a couple years of learning and diligent experience trying out the concepts for yourself but again, anyone can do this part after enough practice.
The hardest part, and the most important thing that I think you're missing here, is the critical step between taking and making a photograph, the process of synthesising a new artefact (the photograph) from the real world. You've shown us a bunch of pictures with things in them, but those things don't mean anything to us as viewers even if they mean something to you. A good photograph is IMHO not a record of the world, it's a story or an illustration of a concept, using bits of the world as brush strokes. This is not something you can learn from a textbook, but you can absorb a fair bit of it by looking at the best of other people's work. When you see an image that speaks to you, think very carefully about why it does so; is it the lighting, the subject, some emotion, does it represent something that you see in yourself? By looking at shitloads of excellent photography, you can learn a lot and can begin to emulate, but more importantly, you need a clear concept in mind before you even think about picking up the camera, otherwise you end up with mere pictures of stuff.
Photography requires you to have skill in the following layers, each layer being dependent on mastery of the previous:
- craft, i.e. an understanding of how your materials respond,
- managing and synthesising light,
- arranging stuff in the frame to make a composition, and
- synthesising an artwork, i.e. getting a concept or story out of your head and into the photograph.
If you want brutally honest, you haven't even started on any of those but that's OK because you're a self-acknowledged beginner. It's time to start thinking about those concepts, and finding out exactly what it is that you don't yet know.
Go shoot 10,000 individual and carefully-considered photographs. Not 10,000 exposures, but 10,000 different compositions - by that time you should have mastered the first three steps. The last one takes forever.
I find that people are frequently afraid to say what they really think out of concern for the makers feelings. It takes guts on both sides.
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