WELCOME! Welcome to the first ever issue of BELLA PHOTOGRAPHY! We hope you‟re as excited as we are. This issue is packed full of photographs, photographs and more photographs! Oh, and some writing too...! For those of you who class yourselves as complete beginners, we have a „Beginners Class‟ (page 9) just for you! We know you‟ll find useful it and fun. Did you know that many professional photographers are actually using toy cameras? Kate Hogg introduces us to lomography (page 18) in our regular feature, The Lomographer. We couldn‟t believe our luck when photographer (and toy camera-user) Lindsey Byrnes agreed to do an interview with us (page 11)! We‟ve also been extremely busy putting together tips and ideas (page 7) for you to try out, as well as competitions (page 18) to enter. Sophie Abel also tells us how to take an even better photograph while you‟re „On Location‟ (page 21). These are just a few of the features you have to look forward to! Enjoy!
(c) Photographs by Rebecca Connolly
About the Editor:
Contributors: Meet the team
Kate Hogg is a Scottish photographer. She has a wide range of experience: in January 2010 she founded the Photography Society at Queen Margaret University, and was President until mid 2010. She was also photographer for „The Echo‟ newspaper and for the Queen Margaret University Student Union. She recently took part in projects such as the QMU Naked Calendar and the „Pink Is the New Green‟ fashion show, an event run for breast cancer awareness. Kate‟s first ever photography job was as Second Photographer at a family wedding in New Zealand. In March 2010 Kate was awarded „Member‟s Member‟ of her society, and was also nominated for „Female Personality of the Year‟. “He that sincerely loves nature finds pleasure everywhere”
Editor Kate Hogg (kate_hogg@hotmail.co.uk)
Writers Sophie Abel (08007025@qmu.ac.uk)
Kate Hogg (kate_hogg@hotmail.com)
Pixie Twist
(atomictoastergirl@hotmail.com)
– Vincent Van Gogh Kate has lived most of her life in Edinburgh and considers herself to be a true city girl. However it was during an extended stay in the Scottish Borders that Kate suddenly saw the beauty of nature. Armed with a new camera, she set about trying to capture that beauty, and still does to this day. Kate draws inspiration from beauty – from stark winter frosts to a simple smile – and tries to capture these moments through photography.
Photographers Kate Hogg (kate_hogg@hotmail.com)
Rebecca Connolly (rebecca.connelly@virgin.net)
Sophie Abel (08007025@qmu.ac.uk)
Kate‟s photography can be seen and purchased from katehoggphotography.weebly.com
Kati Reinikka (kati9111@hotmail.com)
Artists Pixie Twist
(atomictoastergirl@hotmail.com)
Kate Hogg (kate_hogg@hotmail.com)
Cover design Kate Hogg (kate_hogg@hotmail.com)
Contents Reader’s Letters 06
Interview with Photographer: lindsey byrnes 11 Your Questions Answered 06 TIPS and IDEAS 07
Queen Margaret University Photography Society Report 15
Projects and ideas to improve your photography
Introduction to QMU‟s „PhoSo‟
Just Point and Click! 08
The Lomographer 18 By Pixie Twist
On Location 19 By Sophie Abel
Beginner’s Photography at composframing Rule of
Class 09 101 looks -ition: and the Thirds
Competition 20 Book Review 21 Discussion 23 Ethics of Street Photography
Got an idea for Bella Photography?
Send it to bella-photography@hotmail.co.uk
Reader’s Letters Since this is the first ever issue, the Readers Letters page is looking a bit empty! So, we thought we‟d give you some ideas to inspire letter-writing: we would love to hear why you love photography, what you think of the magazine, any ideas you have - or anything else you might want to tell us! Send us your letters and we‟ll publish them on our Reader‟s Letters page. YOUR QUESTIONS ANSWERED In each issue we‟ll also answer any questions you have, whether it is about your camera or kit or how to improve a photograph you‟ve taken, we‟re here to give you advice and guidance on whatever query you might have.
Let us know what you think, at: bella-photography@hotmail.com www.twitter.com/bellaphotomag www.facebook.com + search bellaphotographymagazine
(c) Photograph by Kate Hogg
TIPS and IDEAS In each issue, we‟ll give you some advice and projects to try out. Here are a few to get you started. Have fun!
TIPS:
IDEAS:
>Take your camera everywhere you go. You never know when an opportunity may arise. You’ll end up with photos taken in a wide variety of settings as a result, too.
>Try taking at least one photograph every day at the same time. This will help you to “see” photographically. When your alarm goes off at your chosen time, take a photograph within 20 seconds so that you learn to find photographic opportunities quickly.
>Keep it simple. Your subject should be the main focus, so keep anything else to a minimum. >If you feel shy taking photos of people, take photos of family and friends – they will feel more comfortable and in turn your confidence will grow. >Get into the habit of analysing photos – try to work out why you like or dislike each photo, and how you can learn from it. >Use your subject’s natural environment to give the viewer more information about the subject. The familiar surrounding will also help your subject feel more relaxed, too. >If you can’t get to your subject’s usual location, try using use props instead. Props will also give your subject something to work with if they feel awkward around your camera. >Experiment with different angles. Don’t just go for the generic angles – unusual angles can make for more interesting shots!
>Put together a scrapbook of inspiring photos which you can learn from. Make some notes about why the photo is inspiring, or why a photo is bad and how you can learn from it. >Keep a photographic diary: take self portraits of how you are feeling. This will also give you an understanding of how your models might feel on the other side of the lens as well. >Try taking photos of how you’re feeling, without any emotion in it. What represents sadness or happiness for you?
We‟d love to see your results! Send them to bella-photography@hotmail.com and check out the next issue – your photos may be in there! (c) Photographs above by Kate Hogg (c) Photographs below by Rebecca Connolly
Just Point and Click! By Pixie Twist
I bought my first camera for fifty pence. I was seven. I loved the camera and used it until I was ten, when I got a Nikon for Christmas. I didn‟t know anyone else who had a camera at my age, but I‟ve always been someone obsessed by visuals, the thought that i could see something through my eyes and permanently preserve it was an instant attraction. At that age I thought other people weren‟t interested in the images that fascinated me. I used the point and click camera until I went to college when I was twenty and had to buy an SLR. The best part of my college course was learning how to make black and white photographs from start to finish. While monetarily it costs much more to develop and print photos - especially after realising your film might not have as many good photos as you would have liked: realising your film includes out of focus photos / overexposure / underexposure / finding your thumb got in the way / finding it‟s not quite straight / finding out your subject was too far away or was so close that they have just become a blur, which of course who have no idea until you get your film back, by which time you might not be able to recreate that particular event, the look on someone‟s
face, or perfect moment in time - it is still so much more rewarding than using a digital camera, where you know you can retake as many photos as you want, with room for those mistakes. I now own a digital camera, and while I haven‟t used my pointand-click camera for quite a few years, I would love to turn my cupboard into a black and white darkroom, once I‟ve saved enough money for the light box and chemicals. I can only finish this article, by further annoying anyone who enjoys the technical side of photography, by saying I still prefer my point and click camera to my SLR. It is extremely light, worth so little that damage or loss isn‟t too much of a concern, yet still has a higher good to bad ratio than my SLR, which isn‟t nearly as good because of the fact you can program the settings – then when the photo turns out disappointing you always feel more at blame than the camera. I can appreciate the joys and advantages of digital photography if you have enough money to purchase a decent camera, memory cards, computer, photoediting software, and don‟t mind taking dozens of identical photographs only to have to spend a lot of time choosing your favourite and editing it. Nevertheless, I think I‟ll stick to my point and click! (c) Photography by Pixie Twist
Beginners’ class By Kate Hogg
take other elements within the frame and position them so that they surround the main subject.
Take a seat class, take out your textbooks cameras we‟re going to have fun today! For the first class you‟re going to learn about COMPOSTION. When photographers think about composition, they think about subject matter, and how the subjects are positioned in the picture they are about to take. There are some things you can think about to improve your photographs, such as framing and the Rule of Thirds. We‟re going to look at each of these in today‟s class. First, we‟re going to talk about framing. You need to make sure the subject fills the frame as much as possible, and that it‟s not too small or lost in amongst the other objects in the frame. You need to ask yourself: where will you place your subject within the frame? How will you make it stand out? A technique I love is creating a frame within a frame;
Here, the baby penguin is framed by two adult penguins. The plant below is also framed by the other plant pots. In the example above, I used the railing as a frame so the viewer must look through it to see the subject matter. The photograph is much more interesting to look at with the added „frame‟. Here are some more examples: Another effective technique is the Rule of Thirds. This is when you imagine a grid (some cameras have them built in) much like the one below.
By zooming in, I managed to create a framed image here, of the Scott Monument in Edinburgh. The sunset and silhouetted shapes are the focus point for the viewer.
An example of an image where the Rule of Thirds has been used can be seen below.
The point of interest has been placed on one of the intersections, enhancing the photograph and giving the image more impact.
Using the example above, instead of positioning the horizon in the centre of the frame, try placing it on either the upper or lower horizontal line for a more aesthetically pleasing image. For example, if you want to draw attention to the river, placing the horizon on the upper line of the Rule of Thirds draws attention to the scenery and distracts from the dull sky. If the sky had been more interesting and the rest of the scene had been uninteresting, it would have been more beneficial to place the horizon on the lower line, drawing the viewer‟s eye to the sky. Alternatively, if you have a person or tree included in the image, you could place it on either the first or second vertical line.
people in the frame, you can place them along the first and second vertical lines of the grid. Placing your main subject in the centre of the frame should be avoided as it is less interesting for the viewer look at.
Alternatively, you have the main area of focus positioned closer, with another object positioned further away on the other side of the frame, or vice versa.
Next time you watch television or see an advertisement, notice when the Rule of Thirds has been used – you‟ll start to notice it surprisingly often.
Balance is another consideration you may want to think about. In the photograph above, the closest metal bar is positioned on the upper horizontal line of the Rule of Thirds, while the „doorway‟ is on the lower line. The photograph is very symmetrical. Each side balances each other.
Below are some more examples of framed photography, and photography which shows the Rule of Thirds.
The Rule of Thirds can be used in close-ups as well. For example, you can position the subject‟s eyes on the upper horizontal line. Similarly if there are two (c)Photography by Kate Hogg
Interview with photographer
LINDSEY BYRNES Lindsey Byrnes is an accomplished Los Angelesbased photographer. Byrnes was Contributing Photographer for Thrasher Magazine, Photo Editor for “Off the Wall – Stories of Sole from Vans Originals” and Photographer and Project Manager for the book series – “ON”, “IN” and “AT” – for Tegan and Sara. Here, Editor Kate Hogg finds out more...
Tell us a little bit about yourself? I grew up in San Diego, California. I lived in San Francisco from 1996-2006
So from 2006 to present you lived in Los Angeles? Well kind of. I moved around a bit. I lived in Orange County for a while. But it is really conservative in the OC and although I love the beach and the ocean, it is not my kind of place. So for the most part I have lived in LA.
How did you first get into photography? I'd say I really started shooting back in 2000. I was working at High Speed
Productions, Inc. the publishers of Thrasher, Slap and Juxtapoz magazines. I was in charge of the events and I would shoot them so that way we could promote the events in the magazines after the fact. Also, I would travel for work and I wanted to have proof that I was actually working while I was gone.
Picture Taker, Dream Maker Even though I was on the marketing side of things, my job was very creative and the people I worked with were so creative that there was a lot of room to mix the two together. The editorial staff was open to me contributing and one day I went and shot a band playing live and that was it, I caught the bug. I really admire all the photographers that I met through working at Thrasher and Slap. Action photography is very demanding and really takes
a lot of talent! They are all so inspiring, still!
Do you have any qualifations or are you selftaught? I have years of experience in publishing which I think has given me a leg up. Honestly there is no amount of schooling that can give you what hands on experience gives you. I did take some classes in photography to learn how to develop film and print my own photographs in the dark room. Those classes were amazing and gave me a whole new outlook on photography. It opened me up to experimentation with it that I didn‟t know was possible. And even though I work mostly in digital now, the film classes helped me on the technical side of things by giving me a deeper understanding of aperture and shutter speed and cameras in general.
What steps did you take to get to where you are now? That brings up an interesting other question for me because to answer that I think I have to first figure out where I am at? I
have always worked for other people, always had jobs since I was a teenager and got my first work permit. I loved the idea of supporting myself and having the freedom that comes with having my own thing going on. One of my co-workers at Thrasher magazine and mentor, Luke Ogden told me once "just keep shooting" and so that is what I have always done.
So what‟s your favourite type of photography and why? I love all types of photography. But mainly I love to shoot people. I am and always have been a people person. I need people and I love people so that is what I love to shoot. Documentary is amazing because you are capturing moments in time. That is when it is truly about the subjects and not really about the photographer at all. Portraits are fun and can be so different. I love it all really and I like to mix it up that way I am never bored!
How would you describe your style? This is so hard to do. I don't know if I have ever been able to describe it to people. I‟d love to be able to say
that I possess magic that brings out the true what is inside of someone because I try to and every now and then I can capture it in a photograph.
“Photography is an essential part of our society and humanity as a whole. Recording history for us to learn from and remember holds such great importance” What‟s your favourite camera accessory? Lenses are my favorite accessories. I can‟t get enough, I want them all. I wish I had a million different lenses and a million cameras. Okay that is an exaggeration, but I really think there is no end to what I desire when it comes to camera gear. I am getting into lights and flash now too, when I was pretty anti before.
What tip would you give an amateur who is having lighting issues during a shoot? It would depend on what the issue is but my first instinct would be to ask if you have
checked the ISO. Then I'd probably say turn it up and open up the aperture as wide as it will go! And after that I might say check your white balance and turn on some lights!!!
What‟s the best and worst thing, in your opinion, about being a photographer? The best thing about being a photographer is that I can do my job anywhere as much or as little as I feel like. There is nothing bad about being a photographer. Focusing on negative things creates negativity and that isn't what I am trying to be about.
What inspires you to take photographs? Everything inspires me to take photographs! I am obsessed with capturing and recording moments in time. I really feel like photography is an essential part of our society and humanity as a whole. Recording history for us to learn from and remember holds such great importance. Now, don't get me wrong I'm not saying that I feel that I am changing the world or making it a better place, as I do not have some inflated idea of what I am doing.
Unfortunately I am not curing diseases or creating world peace, wouldn't that be amazing if we could do that by just clicking a button! But all that aside I do believe that the preservation of time and recorded memories are priceless. I learned about my family history through photographs without them I would be very different...
What advice would you give someone who wants to pursue photography? I would say, do it!
What sort of Lomography camera do you use? I have a Holga and Diana and a couple others. Unfortunately, for the past year it is a rare and special occasion that I bring them out I can't remember the last time I used them... Hmmm I need to change that!
How is it working with amazing bands like Tegan and Sara?
Tegan and Sara are professional, hard working AND talented. Everything
that they do is done with integrity and honesty. So, when I have the privilege of working with them or amazing bands that are like them I consider it a blessing!
What's been your worst shoot and why? Is there anything that you don't like to photograph so much but just have to? The only bad shoots are ones that you don't learn anything from. Therefore, I can honestly say that I have never had a bad shoot. I always want to be learning. My point is that even if something didn't turn out the way I wanted it to it could still be a good shoot, if I learned something for the next time.
and open mindedness are the key elements.
www.lindseybyrnes.com Lindsey‟s photos, featured in “Off the Wall – Stories of Sole from Vans Originals” and “ON”, “IN” and “AT”, the Tegan and Sara books, are all published now. (c) Photo of Lindsey Byrnes, above, by Sara Quin
How do you come up with ideas for a photo shoot? (Location, model poses and so on?) I like to collaborate with the people I am shooting so if we are doing things beyond locations then we talk about them first. A lot of times I will pick locations based on what the person is wearing. My mind kind of just works that way. It is different every time, but I like to find out what my subject thinks about things. Collaboration
Kate Hogg Byrnes
meets
Lindsey
Editor Kate Hogg with Lindsey Byrnes
Queen Margaret University ‘PhoSo’ Report
Each issue, we‟ll bring you news on QMU‟s Photography Society („PhoSo‟ for short). Here last year‟s PhoSo President, Kate Hogg, tells us about the Society so far... “The Queen Margaret University Photography Society was set up in December 2009, but the first meeting wasn‟t held until the beginning of February 2010. Meetings were held weekly, and were designed to be suitable for beginners and beyond. Assignments were fortnightly and included projects on „Identity‟, „Wildlife‟, and „Black and
White‟ photography. Assignments included trips out as well, such as to the Zoo and Butterfly and Insect World. Beginners Meetings were really for everyone, regardless of photographical knowledge. If members had any photography questions whatsoever, it was the place to go! For example, if a member didn't understand something about their camera or the latest assignment, that meeting was the best time to ask. Assignment meetings were held every other week and were when members discussed the 10
photographs they had taken for the latest assignment. On top of all this we were frequently invited to events held at university, which gave members a great opportunity to try out Event Photography.” “Exhibitions will also be held yearly, giving members a chance to show off their best work from that year.”
In the next issue, we‟ll talk to next year‟s President, Sophie Abel, to find out about her plans are for Society next year.
(c) Opposite page: Photograph by Kate Hogg
(c) Photograph above by Sophie Abel
Last year‟s exhibition poster was designed by Society member Kati Reinikka
Bella Photography Promotion
QMU
If you‟re interested in joining or require our services, please contact President, Sophie Abel on 08007025@qmu.ac.uk. The “Photography Society QMU” Facebook page is where all the latest news can be discovered.
THE LOMOGRAPHER Lomo-lover Kate Hogg explains why you should love toy cameras too Do you own a toy camera? I do. In fact, a surprising amount of people do – from hobbyists to professional photographers.
“Be fast, be open-minded,
Lomography cameras have made a huge come-back recently, as I quickly discovered while researching Lomography cameras in preparation for buying my first lomography camera. Through a friend, I was introduced to a whole new world: the world of lomography.
be communicative” -Diana F+book
(c)Lomograph by Kati Reinikka
The entirely plastic camera was first used in the 1960s (selling for around a dollar and failing miserably) but has successfully made its come-back in 2007. Unlike most cameras that so many of us have come to love some 50 years later, lomography cameras don‟t have any extra buttons, dials or menus. Which means users can quickly snap the incredibly-simple shutter and be done (or not, as you can double expose!), rather than fiddle about with modes and shutter speeds and focuses. However, the beauty of the lomography camera is that the end result isn‟t necessarily going to be anything like what you originally planned to photograph. Vignetting, blurred edges, colour leaks...these are all common features you come to look out for on viewing your developed lomographs. This is half the fun though: the unpredictability of lomography. I don‟t know about you, but I‟m hooked already.
Bella Photography Promotion
Capture your world through Lomography
Competition! Each issue we‟ll present you with a new competition. The winner‟s photo will be shown on the front cover of the next issue, and other entries in the Competition will be shown in this section of the magazine!
For the first competition, we want you to take photos in BLACK AND WHITE. Have fun!
Rules: 1. The photograph must be taken by the entrant (no stealing photos from the internet!) 2. Self portraits must also be taken by the entrant – for example, using the self-timer setting. 3. Entrants can enter up to three photographs.
(c)Photo by Kate Hogg
A Bit About Black and White Photography... Originally all photos were monochrome but today we have much more choice. Almost all digital cameras have some sort of monochrome mode now, as well as colour modes. And of course, if you own a „film camera‟ you can buy black and white films! Monochrome photos can look more „arty‟ than they would have been if they were in colour. For example: a mundane photo of a cafe scene may look very average, however converted into black and white the viewer suddenly sees a whole new improved scene, which they want to be a part of. Set your camera to „Document‟ mode and then set the colour setting to a mono tone to get extra crisp close up images. Remember, what looks good in colour doesn‟t always look good in black and white / sepia, and vice versa as well. Always check if you can! Try to imagine every potential photograph in mono as well as colour – it‟ll make all the difference. You can use your cameras menu to switch to black and white mode to get a preview in your LCD screen
before taking the shot. Or, you can also take the photo in colour, upload it onto your computer, and convert it into black and white using photo-editing software, such as Photoshop, Photoshop Elements, or GIMP. (GIMP can be downloaded free from the internet by the way!). Monochrome is ideal for capturing texture such as landscapes, wrinkled skin, decaying leaves and so on – as well as form and shape. These aspects are all graphically pleasing. Monochrome can also bring out contrasting tones in an image – which means highlights look lighter and shadows look darker. This can be especially effective when photographing emotion. Things like shadows (especially deep shadows with strong contrast) create mood. Winter images become starker (for example, tree silhouettes). Rocky mountains, landscapes, close ups (for example, stone, tree trunks, and patterns) and mood all come across even better in black and white. Try to pick the best angle to exaggerate all the lines and edges.
Book Reviews Each issue we‟ll review three Photography books for you.
Photo Idea Index: Explore New Ways to Capture and Create Exceptional Images with Digital Cameras and Software Author: Jim Krause ISBN: 158180766X
If you’re suffering from 'photographer's block', then this is the perfect book for you! It's stuffed full of ideas, so even after skimming the pages you'll already feel like you're over-flowing with new ideas.
Diana F+: More True Tales & Short Stories
Author: The Lomographic Society ISBN: 390221712X Whether you're new to lomography or a long time lover, this book is a great read! It's really inspiring and teaches you tons about the world of toy cameras
The Digital Photography Handbook Author: Doug Harman ISBN: 1847244459 For anyone hoping to improve their photographs, this is the book for you! It’s straightforward and is structured so everything is easy to find, and covers everything you need to know.
On Location
us anything about the people or culture of a place.
By Sophie Abel
Not everything in the world is worthy of a beautiful photograph, so it is the role of the photographer to find the splendour in the every day and mundane. In 2007 I travelled to China and had the opportunity to photograph an extraordinary culture and some of the worlds most magnificent ancient architecture and landscapes. My advice to amateur photographers „on location‟ is to focus on detail…the little things that make the difference in different cultures. Rather than taking another generic photograph of a landmark building, I would concentrate on the smaller features such as unique patterns, framing or particularly interesting points of focus that make up an area‟s personality.
We‟ve all seen photographs of landmarks like the Eiffel Tower and the Statue of Liberty so another one of these doesn‟t actually tell
A city like Beijing has so much to offer in the way of photographic subject, but you don‟t need to travel five thousand miles to get a fabulous shot. Cities and villages all over the UK provide a wealth of beauty that is easily accessible and if you manage to capture in the midst of the right light or time day then your photographs will be much improved.
Depending on your target audience, it might be an idea to photograph quirky points of interest, for example, while in China I saw a ‟do not walk on the grass‟ sign that translated to ‟I will cry if trampled‟ and a man at the top of a mountain with a box of live chicks for sale . These are the kind of things that Western English speaking viewers may find charming or unexpected and are a good source of photographic subject.
Some of the most interesting and memorable photographs are simply a case of the photographer being in the right place at the right time, for example, the infamous shot where a couple set the timer on their camera to get a shot of them in front of a
breathtaking landscape when a curious gopher appeared to investigate the camera. This truly was a once in a lifetime picture and for a few weeks was seen by internet users all over the world. Sometimes good photography is simply a case of good luck. All that‟s left for me to do is wish good luck to everyone hoping to make a success out of capturing the beauty in the world whether you be professional, amateur or just a photography enthusiast. Keep your eyes open all around you to notice details that
others may not notice and keep your camera available at all times!
DISCUSSION: In each issue we‟ll present you with a new topic of photographic controversy to discuss. The first topic is on ETHICS – should the photographer make his or her presence known or try to stay is invisible as possible? Here, Kate Hogg begins the discussion with some of her own thoughts...
To Be [Seen] or Not To Be [Seen]? The relationship between the photographer and their subject is one of the most important parts of Street Photography. There are many pros and cons to whether subjects are aware of the photographer‟s presence or not of course: by blending into the background, subject‟s behaviour will remain natural. This is unlikely to be the case if the photographer were to thrust a huge DSLR, long zoom included, in their subject‟s face! Suddenly your subject tenses up, shows you their „best side‟ and ultimately what could have been a masterpiece has been ruined. Being visible means your subject‟s behaviour will probably change for the worse, and great candid photography will be harder to achieve.
So, to achieve that great shot, blending into the crowd is something every Street Photographer would probably prefer – which is exactly what I did when I went out to try my hand at Street Photography for the first time. It meant adopting techniques such as shooting from the hip, dressing to match the rest of the crowd, turning of the camera beep off and shooting from further away, and zooming in: maintaining my anonymity. But was I encroaching on innocent people‟s privacy? In this day and age, where suspicion is so much higher in society, do we as photographers even have a choice in the matter? Ethics is paramount in photography. Knowing the laws of the country you are shooting in is of course a necessity. But whether you are aware of them or not, it is better to stay on the safe side - just in case. Therefore, is honesty is the best policy? Surely once your polite, friendly manner has won over your subjects‟ and dissolved any nerves; they will surely relax around you and your camera.
But is this really real? Is this really a real representation of the situation? And isn‟t this the main question for the photographer: not what aperture stop to use, but what the photograph hoping to achieve? In order to achieve this, surely the photograph needs to be as fair and accurate as possible – can this really be achieved by making ourselves visible and therefore changing the behaviour of our subjects? Which leads me on to my next consideration: what about allowing our subjects to have a say in the final edit? Surely contacting the subjects and letting them see the results would enable the photographer to gain their trust and be more likely to get a positive response? Send your thoughts on the „observer effect‟ in to any of the following: Facebook: “bellaphotography” Twitter: “BellaPhotoMag” Bella-photography@hotmail.co.uk
In Issue 2, we‟ll begin the next discussion: representation.
LEFT: This is clearly a candid shot – however here, my camera and I had been visible. This shot was not achieved until I had taken quite a few photographs and everyone felt relaxed around the camera