Seeing through another's eyes

Clearly, it is not possible to truly see through another's eyes but, that said, it is possible to be inspired by the vision of others. My image today is a good example of this.

My two-year-old granddaughter, Isla, absolutely loves birds: all birds. But, the little yellow finches that gather at our bird feeder are among her favourites. At this time of year, the birds will flit over to the nearby magnolia tree from the all too busy feeder. A little finch doesn't have to fight for a perch in the magnolia tree; there are ample perches for all.

I hadn't really paid attention to this and if one doesn't pay attention the moment will pass. The magnolia is only in bloom for a very brief period in the spring. There are only a few days to catch the shot. Isla made me see this and I thank her for it.

There is no shame in taking inspiration from others. One must simply give others the credit they are due. Many folk are shocked and dismayed to discover a favourite artist took inspiration from another. They write off the work as derivative: a copy. And sometimes, they are right. But, as often as not, the latest work is not a copy but a new take on an old song, a new twist to an old story, a new and glorious work of art reflecting on another, and very inspirational, piece of art.

See more in less

Some time ago I joined a Facebook group, Abiotic Minimal Photography. Members were encouraged to post photos with a minimalist focus. I joined but before I could shoot and post many suitable images, the group folded. Why: Too much interest. You read correctly: Too much, not too little, interest. Founder Isabelle de Touchet wrote:

I am closing the group for good. I don't feel I have enough time to really run the group the way I wish to. I thank you all for all the wonderful photos . . . Much love to all.

Isabelle de Touchet is, I believe, a pseudonym. I've done some googling of the name and, although I am no closer to knowing a lot about the lady (I know some but not all that much), my journey through the labyrinth of the Internet, propelled by her name, has brought me into contact with some wonderful, imaginative art. I cannot post the images encountered. That would be wrong. The works are not mine. That said, I can post links. Please follow them. You will not be disappointed.

A Footprint of Feelings: Isabelle de Touchet
John Shelton photo
Behiç Alparsa photo
Erika Nagy photo
Artopho Group

I'm going to stop here. You can click the links as well as I can. The last link I gave is simply the best. I love the shot by Erika Nagy and when I search for more by Erika Nagy I find 40 Astounding Examples of Abstract Photography. Erika Nagy's is the last shot shown.

What was the point of this post? Inspiration. Use the Internet to inspire, to encourage, to plant the seeds of creativity in your mind. Expand your photographic horizons by learning to see more in less.

And if you'd like to know more than the minimum about Minimalism, here's a link to more: Minimalism.

It is not quite minimalism but the hunt itself led to this very nice image.

Possibly the best rechargeables: Eneloop

When my Fuji FinePix HS10 stopped working, I thought the camera might be toast. I found it hard to believe that all eight rechargeable batteries had died at exactly the same time. My granddaughter noticed the low-battery icon flashing before I lost all power. She said, "Change the batteries, Gug."

I had never charged my ni-cads without letting them rundown, but I never let the batteries discharge completely either. I tried to be careful. It wasn't enough. I believe a cheap battery charger did them in.

I have since learned that a cheap battery charger, that charges all batteries at once,  treats all batteries like the weakest battery in the set. Soon all batteries are as poor as the failing one.

I replaced both sets of batteries with Eneloop rechargeables from Panasonic. These batteries have a great reputation on the Internet and so far I have been very pleased. They hold their charge well when not in use and they are not damaged by early charging like my other batteries. The battery charger that came with the set of eight double As and two triple As charges each battery separately. Hallelujah!

I was unable to find these batteries in either the electronic stores or the camera stores located near me in London, Ontario and so I went online. I found the best price at Costco. There was no charge for the delivery and the batteries arrived the day after I placed the order. I am beginning to understand why brick and mortar stores are in some trouble.

In the recent past, I've had some problems with my Fuji FinePix HS10. I'm wondering if the problems were caused by low power. Did I have enough juice to allow the camera to work but only poorly? Don't know.

But, look at the picture of my granddaughter at Karate practice and I think you will agree, the old camera has found its second wind. There is life in the old superzoom and the new Eneloop batteries may well be part of the reason.

iPhone Picture in a Pinch

Is it sharp? No. Are the colours accurate? Not really. So, what does this photo have going for it?
It is an important moment, a milestone. Judy, grandma, is 67.

I forgot my camera at home and the camera that should have been handy wasn't. We were celebrating Judy's 67th birthday at the other grandparent's home and their camera had also been left at my home, too. I thought we were camera-less.

Fiona spoke up: "I have daddy's old iPhone. It takes pictures." She disappeared into her room only to reappear quickly with the iPhone in hand.

She turned it on; she plugged in the access code; she showed me how the camera function worked. Then she took her place, with her sister Isla, beside grandma and it was, as Isla says, "happy to you" time.

As you can see, the best image wasn't the best but it was fine in a pinch. The image may be soft and the colours way too warm, but the moment is intact and accurately captured. The iPhone did the job and for that I have Fiona to thank.

"Thank you, Fiona."

Simple Portraiture

Isla under soft but directional window light.

Say portraiture and many folk immediately think of studio pictures. I know a lot of folk with decent little cameras who run off to a place like Sears every time they want an updated portrait of a grandchild. I say try and do it yourself.

Seat your subject near a large window. Illuminate the subject with the soft but directional light. Watch for catchlights in the eyes. These are important. Catchlights add life to any subject's portrait.

While paying attention to the light, remember to pay attention to the shadows as well. Shadows give form to your subject. Here is a link to an excellent post discussing six simple and very popular lighting approaches used in shooting traditional portraits.

Your subject should be quite relaxed in this environment, certainly more relaxed than when forced to sit in front of a camera at Sears. With any amount of luck, you should be able to capture a pleasant expression. Don't struggle for a big grin. Don't badger the subject to smile or say cheese. Simply chat and shoot. Or do what I did and capture the subject unaware, pleasantly occupied with something other than picture-taking.

Today's cameras can take lots of photos without costing a cent. So, shoot lots and shoot fast. Don't shoot single shots but shoot short bursts. Keep shooting until you have your shot. Pay attention to the images as you capture them. You will know immediately when you have succeeded.

The shot of my granddaughter Isla was shot while she watched Caillou. She loves the cartoon Caillou and paid very little attention the camera. Unfortunately, she moved as I shot the picture and I cropped off the top of her head. Oops! If I took a little more off the bottom, the picture might look as if I planned the awkward crop.

Of course, I could have kept shooting.

Don't fake photographs

I was looking at some images of my old high school in Windsor, Ontario. One image was especially striking. In fact, the dramatic sky with the perfectly placed billowing cloud looked simply too good to be true. My Photoshop sensor was twitching.

I didn't have to wait long for confirmation. The very next picture, taken from another angle, had the same cloud formation soaring above the school. The only difference was that the cloud was flipped and the colour of the sky changed.

Don't do this. It may add drama to your images but it also puts a big question mark over your work. It says, "Don't trust these images." And that is sad.

This castle-like school, approaching the century mark, exists. I know. As I said at the beginning, I went there.

Someday Kennedy Collegiate Institute will be history. It will only be a memory recalled through photography. These images must be above reproach. The memory must be accurate and trustworthy.

If you are having a difficult time seeing that both skies are identical, I have flipped the one and placed it on top of the other. The similarities are now impossible to dismiss.

Don't fake images. Don't make it too easy to dismiss your work. Your images are too important. Treatment your images with respect. And don't do this with the images of others either.

A photograph should be more than a graphic element on a page. Don't cheapen the franchise.

Document the interaction between those you love

My oldest granddaughter, Fiona, 5, is getting pretty good at puzzles. She made grandma Judy promise not to finish the snowman puzzle while she is away on vacation. Grandma Judy agreed. The puzzle will sit undone for the next 12 days.

And my youngest granddaughter, Isla, 21 months, loves to walk a 'tightrope' of colourful numbers. She giggles and laughs as she walks quickly from one end to the other and back trying not to loose her balance and put a foot on the carpet.

Stuff like this is important to document. These are memories. This is the stuff that gives texture to life. Capture it. And don't ask anyone to, "Say cheese."

If at all possible try and capture the moment using available light. Find a spot to brace the camera and minimize the camera shake. I used the table top for Fiona and the floor for Isla. Shoot wide open using the fastest shutter speed possible. This will minimize subject movement.

If you must use a flash, I do hope you have a flash with a swivel head snapped into the hot-shoe of your camera. If you don't have that you are in trouble. It may be impossible for you to bounce your flash.

If the ceiling is white, as it is in most rooms, bounce the flash off the ceiling and let the camera's auto features take care of the aperture setting. In this picture of Fiona, the bounced light would bounce off the white table cloth and help to fill-in the darker shadows. Bounce flash is not needed with Isla.

Sadly, I don't have the correct flash. I must shoot available. On the bright side, my Canon S90 has a maximum aperture of f/2.0 which allows me to take almost full advantage of the room light. I say 'almost full advantage' because lots of normal lens open to f/1.4. That's a full stop faster. That said, lots of lens considered fast stop at f/2.8 and that's a full stop slower.