Turning a weakness into a strength

My wife is not fond of hostas. Just a bunch of green leaves, she says. I, on the other hand, love 'em. I see colour, mostly green I grant you, but many have wonderful splashes of yellow and others sport dashes of creamy white.

I love the way the expand quickly in the spring, claiming the entire area of the garden they occupy as their own. The leaves swirl and overlap and, to me, they are as beautiful as a large, colourful flower.

When the hosta flowers appear in late summer, small purple flowers on long stems, their look is overshadowed by the plant's leaves. Still, the flowers are a nice addition to the dramatic, hosta presentation.

Capturing what I see when I look at a hosta means getting in close. It means keeping all in crisp focus. It means finding and capturing the mad swirls and twisting splashes of colour.

And this is a job than can be handled with aplomb by almost any point-and-shoot. I used my Canon S90 but I can't think of a PAS camera that wouldn't rally to this challenge. It is not just the aperture, the f/stop, that governs depth of field, deep focus in an image, it is the size of the sensor.

35mm cameras had more depth of field than their large two and a quarter brethren. Today's digital PAS cameras have even more depth of field than their 35mm counterparts. So much depth of field poses its own set of problems but here it is a solution and not a curse.

Hey kid, time for lesson No. 2

Fiona has a hard time using my little camera. She gets her fingers in front of the lens, or worse she gets those smudgy fingers right on the glass. Holding the camera steady is a whole other problem.

I have a problem, too: Patience. I tend to run a little low on the stuff when she's got my Canon S90 --- a camera she has taken to calling her camera.

Seeing a purple flower, she wanted to use "her" camera. I had to remind her to keep her fingers off the lens. I had to tell he not to get too close. The camera can't focus when you get in too tight. To which she asked, "What's focus?"

She took picture after disappointing picture. I kept encouraging her. She could see she had missed the shot from viewing the image on the back of the camera. But I could see the back of the camera as she c composed her shot. I could tell her to raise the camera or lower it. I admit to helping her crop the final picture of the flower that she so desperately wanted to capture photographically.

Thanks to bright sunlight, usually the bane of photography, she had lots of depth of field and a quick shutter speed to stop the camera wobble. She doesn't have the steadiest of grips.

It was tough, on both of us, but I think it was worth it. The little girl got her shot of the purple flower.

Now, if you've got some little ones in your life, give some thought to letting them use your camera. It is not a toy. This is not just play. But, this is fun. Stay close, don't let them abuse the camera --- on purpose or by accident -- work with them so they can share their view of the world with others.

Good luck!

Lesson No. 1, kid.

Get your fingers off the lens, kid.

Years ago I wrote a photography column for The London Free Press. One column encouraged readers to let their children use the family camera. Watch them carefully, I said, don't let them drop the thing. To prove that kids could be trusted, I borrowed a friend's five-year-old and headed off to a local park.

After breakfast can I take some pictures.

The little one did quite well. In fact, for years I used her picture of a number of swimming water birds to shame grad students at Western into applying themselves at photography.

My granddaughter is almost 32-months-old and I'm thinking it is time to hand her the camera. She agrees. We go for walks and she sees stuff that interests her. Pointing this stuff out, she tells me, "Get out the camera. That makes a picture!"

Rather than take orders from a toddler, I'm giving her the camera. Heck, she is always saying, "I want to do it myself." I've decided, "O.K. kid, do it yourself."

I say, you're never too young to learn to keep your fingers off the camera lens. That'll be lesson number one.

Be Prepared

The fast f/2.0 lens of my Canon SD90 comes through again.

Little Eloise has wonderful skin: Blemish free and a healthy, rosy hue.

Sitting in her car seat with her purple Teddy bear Violet, the lighting in our hallway entrance was perfect. It was soft but directional and clean. The colour temperature could not have been better. All that was needed was a catch light in her eyes.

I took a few shots in case she never did look up. I didn't want to come away with no picture at all. But, I was in luck, she glanced upwards and "Snap!" I had the picture.

Learn to watch the light illuminating your subject; Anticipate future action. Photographers are wise to apply the motto of the Boy Scouts: "Be prepared."

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.)