For want of a battery the photos were lost

All images shot with my Canon PowerShot SD90.

 Today I went with a friend to the Butterfly Conservatory in Cambridge. The place has something on the order of 2000 butterflies and moths flitting about the exhibition hall. There are lots of picture opportunities.

With today's point and shoots, with their relatively fast lenses, both close-up and telephoto capabilities, taking pictures should be, forgive me, a snap. Unfortunately, my friend packed it in early. His battery died and he had not brought along his spare.

I know he has one. When he got his little point and shoot, I insisted he buy a spare battery and I encouraged him to carry it with him whenever he was out taking pictures.

Many folk think erroneously that taking pictures is hard. It isn't. Not anymore. Just being there is often enough, as long as you are there with a working camera. This means having at least two batteries: a fresh one in the camera and another in your pocket. For most of us, this will get us through a day's shooting.

And don't forget the card. I like my SD cards with lots of capacity --- 8 GB is my smallest card. I don't want my shooting grinding to halt because my SD card is full. For a bit more about the day and another image from the shoot, please check out London Daily Photo.

Shooting flower show beauties

Selective focus makes this orchid pop.

Recently I attended a flower show dedicated to orchids. The fellow I was with is an orchid enthusiast. On arrival he immediately set about trying to capture images of prize winning orchids. Watching him made me wince. He made shooting pictures of flowers look incredibly difficult. It isn't.

Most of today's digital point-and-shoots have a macro or flower setting. Many will shift to these settings automatically based on the distance at which the lens is focused. What could be easier?

My friend would choose a flower and then, using his motorized zoom, he'd try to frame his image. The zoom was jumpy. A touch of the control and the flowers exploded across his viewfinder: too large. Another touch, and the flowers receded into the distance: too small. He soon put his camera in his pocket.

The strong diagonals help this shot.

Augghhh! They are called point-and-shoot cameras for a reason. Our amateur photographer should have practised KISS (Keep It Simple Stupid). He should have simply picked a focal length and set to work on the real problem at hand: capturing some nice shots of orchids.

I have said it before but I'm going to say it again. The most important book for you to read before setting off to shoot pictures is the instruction book that came with your camera. I doubt that my friend has ever sat down with that oh-so-important book and played with his camera. If he had, he would not have frustrated himself zooming the lens in and out.

So, how should he have approached the problem?

• First, pick a flower. Hey, this is a flower show. What could be easier.
• With the lens set to a 50mm equivalent setting, frame a shot.
• Watch the background. You cannot move the flower, so move the camera.
• If there is no way to eliminate all distractions, consider using a different focal length and trying again. Longer lens settings will minimize background clutter. As the lens moves into telephoto range, watch the focus. Make sure the camera is still able to focus sharply on the subject.
• Watch the light. If there is clean but diffuse sunlight pouring in a window, try and take advantage of this in order to keep the flower colours clean and vibrant.

If all of the above fails, choose another flower. Hey, it's a flower show. You have lots of choices. (Keep an eye open for all picture possibilities. The shot below shows an orchid inside a protective, stiff plastic container.)

The reflections add extra colour and interest to this image.

Watch for backlighting

Not the strongest example of backlighting but it works.

I have a soft spot in my heart for backlit images. When I worked at a newspaper and had to shoot a quick picture with punch, I often went with a strongly backlit image. Hiding the background light behind the subject would make this image pop. Composing the image with the light hidden will rim the head with almost glowing hair and dramatically separate the subject from the darker background.

Although the image is backlit, it is important for the photographer to still pay attention to the light falling on the subject from in front. All too often, I see backlit images that die on the page because one cannot make out anything other than the strong rim light. In most cases, a person should be easily recognized in a backlit picture. Faces shouldn't just fall into the deep shadows and be lost, unless you are trying for a dramatic, artsy image.

Fiona has lovely red hair and the warm back lighting not only created nice highlights but made her wayward curls easy to see and to appreciate. The soft light falling on Fiona's face is as important to the picture as the backlighting. Having all the light sources working together makes this image work.

And how did I figure out my exposure? I let my Canon PowerShot S90 do the work. (Although I knew the exposure would be weighted for the face. The camera was set for centre weighted exposures.)

Recognizing picture moments

I take a lot of photos of Fiona. She is just 29 months, a little young for a camera. I've given her my Canon S90 but she finds it difficult to frame an image while depressing the shutter button. She has the interest and I'm going to let her keep practising.

As important as it is to be able to handle the camera, it is just as important to know what stuff to shoot. What makes a picture? This is the question that every photographer must answer.

Fiona is getting there. She is developing "a photographer's eye." When she saw her first angel decorating a lawn at Christmas, she cried, "Gaga! Take a picture!" I did. And she checked my work. She knows how to activate the rear display screen and advance through the images stored in the camera. She's quite at ease making comments on my work.

The other day she was learning how to grate cheese. It was a first for her. First time stuff like this make a memorable moment --- a picture moment. "Take a picture!" she ordered, and then turned back to her work. She knows grating cheese makes a picture and not saying cheese and grinning at the lens.
________________________________________________

Things to consider when shooting kids:-

• Try and get down to the child's level
• In most case, do not shoot the tops of heads.
• Faces are important. Try and capture an emotion.
• It may be a still picture but often a little captured-action helps.
• Try and compose while shooting. Think final composition.
• Try for a moment captured and not a grin-for-the-camera shot.

Shooting news with less than the best

A newspaper quality shot of Ken Lewenza, national CAW president.

The other day I covered a rally in London, Ontario. I was writing a story for the Digital Journal and needed art to accompany my piece.

As a former newspaper photographer, I can appreciate the advantages offered by top-of-the-line equipment: No shutter lag, great motor drives and phenomenal image quality.

Unfortunately, the one disadvantage is price. No longer working for a newspaper, I can no longer afford the best. So, I shoot with a Fuji FinePix HS10 and a Canon PowerShot S90. I carry a spare set of batteries at all times for both cameras.

I have one other problem when I am out shooting news. I have a heart condition. Ideally, I would have liked to be on stage shooting with the local news folk but if I had a "spell" and I was on stage, it would be embarrassing and disruptive. I staked out a spot in front of the stage. And I did have a spell and was able to ease myself out of the crowd and find a seat to recover.

My small, shoulder case with two cameras and spare batteries is quite light. It is light even for me.

I think my shots from Saturday are proof that reporters can get usable shots using simple equipment. They may not get the images that a photographer would, the shutter lag alone is enough to prevent that, but they will get good, usable stuff.

One needs at least one overall crowd shot. One quick shot from the stage delivered.

A real strong selling point when it comes to my kit is the wonderful zoom lens on the Fuji FinePix HS10. It goes from a wide angle to super telephoto and it does it with a twist of the lens, rather than a push of a button. I much prefer the manual approach over the motorized one for setting the focal length of the lens.

I'd write more but you get the idea, I'm sure. If not, check through some of my older posts about these two cameras. If you write me, I'll reply or add to this post so that all can benefit.

Good shots are made at rallies using all focal lengths.

Capturing those special moments

Shot RAW, colour is better than jpg but I still missed the peak moment.

My last post looked at saving a special moment by cutting and pasting together two images taken moments apart. It's a Photoshop ruse, for sure. But, I posted the "trick" and the voting was almost unanimous: The doctored picture was best. Even the subject in the manipulated image voted for the Photoshop worked pic.

Well, wouldn't you know it. I was back shooting a similar picture just this past weekend. This time it was grandma Cathy, grandpa Bill's wife, who was celebrating a birthday. I decided to use my Fuji FinePix HS10 set to best picture capture mode. I left my Canon PowerShot S90 in my bag. Also, I shot the image RAW.

I like the colour and detail in the highlights better in the Fuji image. But the moment captured was not the best. It is a moment too soon. The peak moment was still to come. I missed it.

There are advantages to cameras without shutter lag. There are times I sorely miss my high end Canon SLR. Motor drives are no match for good reflexes. A fast camera with no shutter lag, teamed with a blazingly fast motor drive, attached to a flash capable of firing as fast the motor drive, ah, now that is the answer to all my problems but one: Money. A camera like that makes my money problems much, much worse.

I'll just have to keep getting by.

Is this allowed or not? You be the judge.

This is two pictures taken moments apart merged.

Get a picture of grandpa and Fiona blowing out the birthday candles. It was an order.

In the old days, when I worked at the paper and used top of the line Canon pro digital SLRs, such a picture was a breeze. I might even bounce just a touch of flash into the scene to pump up the shadow detail.

But that was then and this is now. I am not at the paper and I no longer have that gear. In dark situations I shoot with a Canon S90. In this example today, I shot on auto at f/2.0. But, even f/2.0 wasn't a big aperture to capture a picture after the candles were blown out and I wasn't fast enough to capture the action the first three times.

That's right, I shot this action four times in order to get one picture. I liked that one picture but my wife didn't like grandpa in my fave picture. She liked him in a shot taken moments before. No problem, except for the morality of it all, simply grab the grampa's face from one image and paste it over top of top of the other photo.

At the newspaper, this was a firing offence. In this situation, it is a keep peace in the family procedure.

I actually like the unmucked-about-with picture best. I like the way grandpa's face looking down leads me to the action below. What do you think?