Shot Selection

[D Pentney]

Last weekend I had about an hour just walking around and taking pictures, and it struck me that it's really difficult to find something of real interest. In the mag there's loads of examples of geat shots, but most of the time the reader doesn't get to see the options a photographer had on a particular trip out, and how he or she whittled down those options to select the final image.

The fact is, while I'm blown away by virtually every single picture, I don't really feel I'm learning as much as I could. For example; you see a well composed picture, but you've got no idea what the picture was composed from. I'd like to suggest a wide shot, largely unprocessed, to show the reader what the photographer had to work with, and maybe a description of the decisions and/or intentions he or she had while composing the shot, and maybe even how close the finished image was compared to the initial concept.

By the way, I'm certainly not suggesting to list everything!! I'd just like to see how a pro goes from sensing a great shot is in the offing, to evolving that concept into the finished article.

[ALwin]

I think I mentioned them to you already, read the books by David duChemin. His first book Within the Frame and the latest one Photographically Speaking covers what you want. And finally his third book Vision & Voice, he explains how he achieves his vision using Lightroom (though of course the theoretical stuff he discusses can be applied to any editing tool).

[D Pentney]

Yeah you did, and I have Within the Frame sitting on my bookshelf while I finish off The Photographers Mind, Michael Freeman. I'm not clever enough to try and read two books at the same time. But yeah, having had a browse through it I see what you're saying, and looks really insightfull.

I suppose I was really suggesting this should be part of a magazines approach to photo guides and 'how-to' sections. Although more and more, I'm struggling to justify buying a magazine when everything is covered in books (and in detail) or it's online, or even in podcasts which I listen to while I work. I don't want to come across like just because magazines don't cover specifically what I want I'm going off them - thats not the case, and far be it from me to effectively slate other peoples hard work and commitment. But the more magazines I buy (probably about 2-3 a month) the more I realise they're all printing the same sorts of things; firstly, they're nearly all having to compromise the skill level they're aiming at, so no-one is fully satisfied. The newbies need more basics, the intermediates need more details, and not being a pro I have no idea why they'd read it. The second thing is, one magazine is much the same as another in terms of overall content and approach.. even layout. I find it hard to stick to one mag over another, tending to pick up ones that have a subject that grabs my interest rather than really liking the mag overall.

Now, this is totally my opinion. I'm not saying that it's the case, but thats my take on it. I realise that some people (especially the ones making the magazine) may feel offended, or that I'm ungrateful and I've no idea what I'm talking about, and who am I to judge. All of thats true, but at least I'm being honest, and at least I'm saying whats on my mind rather than just moving on. I understand the various pressures to print some items over others, and the market research has probably been done, and thats why all magazines put out what they do. It's not a rant, and I'm not angry, I suppose I find myself finishing a magazine and feeling a bit depressed at the amount I've learnt or that's even sparked my interest. Perhaps there's only so much to say?

[ALwin]

I just stick to magazines like National Geographic, Times, etc. now instead of any photography oriented magazines. I find more inspiration that way.

[Rosie]

All suggestions are always gratefully received for future articles / content. Obviously we've got to keep a large audience happy - those who want a break down of how a finished shot was taken, and those, like ALwin who are looking for inspirational images and pro portfolios that they can aspire to achieving. Admittedly, we value image quality as a priority and do tend to go for the final polished images.

Digital Photographer is for the accomplished photographer who knows the basics and is looking to improve on what they already know, so you wont find any detailed explanations about what and aperture or shutter speed is etc. Our aim is to inform and help photographers improve, never to talk down or patronise them with the basics.

I think there are instances where we can include more of a background to a shoot (we do offer something similar with our Story Behind the Still article we feature every issue), the biggest dilemma is finding pro's who are willing to show / admit their 'bad' shots in print!!

[Chris Humphreys]

, the biggest dilemma is finding pro's who are willing to show / admit their 'bad' shots in print!!

I'll do it....

[simon3116]

, the biggest dilemma is finding pro's who are willing to show / admit their 'bad' shots in print!!

I'll do it....

I'll help....I don't mind telling Chris what his faults are.

[simon3116]

I tend to agree with Rosie on this topic. I take the flip side to your point in that seeing what a photographer has put in a shot is better than seeing what they have left out. If you are taking photographs that you are un-happy with then ask yourself what it is you find distracting and then if you can, go back to the same location and try again. If that's not possible then try and remember you last "mistake" (can't think of a better word I'm not saying your shots are mistakes) and hopefully your composistions will improve.

Ansel Adams said "A good photograph is knowing where to stand." I'm guilty of going to places and not taking the time to look at things properly and unless I'm lucky I go home, download the images and then find I'm disappointed but when I take my time, think things through then I tend to get one or two keepers.

[D Pentney]

This is assuming I'm saying one or the other; why not both? To get an appreciation for what's been included do you not need to see what's also been excluded. Fundamentally, I would like to know the thought process behind the choice. I can learn from both sides more fully than just one.

Obviously I go out and take pictures and try different things, some work, a lot fail. However, that's got nothing to do with why I purchase a magazine - other than to help me adjust this ratio!! Learning by my mistakes is fine (lots of practice) but what's so wrong with learning from others mistakes? Or rather, how they evolve the view into a final shot?