A few years ago, my son and I attended a 10-week Tai-Chi adult education course. It was awful and a class that started with about 20 people in it finished with just 3.
Last year I started teaching my own adult education classes. Since doing so, I have found myself increasingly angered by stories my students have told me of other courses – not just photography – that they have attended which have failed to live up to expectations. But I think it's clear to see why...
Consider this statement:
‘You find yourself looking at a website offering evening classes. There’s nothing on there about the tutor, the style of learning or anything other than a couple of generic paragraphs about what the subject is. Now, please pay between £150-450 and they will provide someone who will teach you to be good at it. That’s it. Have faith and just hand over the money. Now.’
When you visit a website researching an evening class, this is pretty much what you’re presented with, only in a less direct manner.
I can think of no other setting where you would be asked to part with that kind of money without knowing thoroughly what you were getting for it.
What if you go and the tutor is an idiot, unprepared or just dull? Or the style of course doesn’t suit your way of learning? How did previous students do on the course? Did they get a quantifiable benefit from attending it?
I believe the way courses are presented is fundamentally flawed. It asks for a whole lot of trust from students with no examples or proof from previous attendees that the course will give you what you need.
I think that institutions that offer evening classes should do open evenings for them, just as they do open days several times a year for their younger students. I think that individuals who offer courses should do taster sessions for them, too.
And here’s the bit you knew was coming….
This is exactly why I do taster days leading up to my courses.
After all, you might not like me, my teaching style, my approach. I do sound quite angry, after all… but at least I'll give you the opportunity to find out before you spend all that money on a course.
A £10, 90-minute taster session could save you a fortune in both cash and frustration. And even if I’m a personable bunny, how do you know you will see an improvement in your photography after 9 weeks?
This is why I show lots of my student photos on the homepage of my website and, of course, I ask them for endorsements which you can read online. As a tutor, I'm only as good as their work. I link out to their social media accounts (with their permission) so you can even ask them directly, if you wish.
I survey my students after each course and have a 100% satisfaction rate for the question ‘Did you feel the course represented good value for money?’
My point is, don’t pay out for a service unless you know exactly what it is, especially one where you’re being taught a skill. You’re putting a lot of time, money and effort into an evening class and you deserve to know what you’re getting. Ask questions before you part with your hard-earned cash.
Anita Corbin First Women Exhibition:
2.30pm, Sunday, March 1st at Brighton Museum
I’ll be heading off to this exhibition and invite you to join me. I’ll be outside at 2.30 so will meet you there if you want to come along! Please sign up through the Meetup group (it’s free!) so that I know to expect you 😊
There’s no Meetup fee, it’s just a photo social!
Photographer Anita Corbin has spent the past 10 years taking pictures of 100 inspirational women. All of them are trailblazers, people who have been the first to do something previously only done by a man. Anita Corbin is a British photographer. Her collections and exhibitions include Visible Girls (1981) and First Women UK (2018). The National Portrait Gallery holds eight of her works.
‘It is my hope that women who dream big will look at these pictures and see that they are not alone.’Anita Corbin
Discover and celebrate 100 pioneering women of the 21st century in this major exhibition by acclaimed photographer Anita Corbin. These striking images capture an impressive record of female achievement, from beatboxing to bomb detection, computing to cricket, blast furnaces to boardrooms.
Read about the Brighton Exhibition here and look at two of Anita’s earlier series below:
VISIBLE GIRLS REVISITED
The original photographic series, Visible Girls by Anita Corbin portrayed the search for identity; the street-level self that was part of a tribe bonded by music, fashion and politics. 36 years later, Corbin’s Visible Girls: Revisited has called those original Girls back together, viewing those changed women through a modern lens.
Now we’re approaching the end of Summer (don’t shoot the messenger!) it’s time to indulge yourself and dust off that expensive camera you bought but perhaps don’t get the best from.
But before that, why not get out this weekend and see some of the best wildlife photography of the year. We’re having a group outing at 2.30pm on Saturday 10th August to see the Wildlife Photographer of the Year exhibition at Brighton Museum. It’s strictly a social event and provides an opportunity to meet your fellow photographers and photography enthusiasts. There’s no Meetup organiser fee, you just pay the exhibition admission charge on the day. See the full listing in the group for more details.
WEEKEND PHOTOGRAPHY SESSION
There’s another weekend 2-hour Beginner’s session on Saturday 17th at 2pm on the seafront, too. Pop along and learn how to get your camera off Auto and get some creative control of your photographs.
NEW 9-WEEK COURSES
If you’re feeling more ambitious, a new Beginners’ Creative Photography course and an Intermediate Creative Photography course start this September, too at Brighton Girls school on Montpelier Road, Brighton.
You can secure your spot on either course with a 50% deposit. Balance payable by 1st September.
You can see some my April 2019 course attendees photos here and read what they had to say about the course.
There’s more planned for Spring next year, too, including full one-day sessions on specific areas of photography, Introductory Photoshop for Photographers sessions and even a trip to sunnier parts for a City Shoot and Landscape Photography weekends.
It’s all go, so join us and learn to enjoy your photography again or simply learn a new skill and make some new friends in a friendly and supportive environment.
In case you think that the site has been relatively quiet of late - you're right!
Following a recent accident I had to have minor surgery on my right arm which has meant that I have not been able to update the website as much as I had hoped.
However, in the next week or two I will begin updating the site more frequently with new Beginners’ and Intermediate courses planned for September and one-day courses scheduled across the summer weekends.
Thank you for your patience and I look forward to seeing you all soon.
When I taught myself photography 30 years ago, it was honestly easier to learn. Cameras were largely mechanical devices and the darkroom was an actual room. There was the camera, film and a physical print. Simple.
Now, I’m sure I don’t really need to spend ages convincing you that photography is more complex now. Look at camera film as an example.
While you could buy different types of film, it was always film you put into your camera to record the image. Now that we no longer use film, one of the considerations you have when buying a camera is what kind of sensor does it have?
The sensor replaces film for capturing the image but whereas the majority of cameras in the past used the same size film – 35mm – modern cameras use different sizes and types of sensor. Full frame? APS H? APS C? Four-thirds? Micro four-thirds?
The physical size of the sensor you record your image on is no longer a constant, like 35mm film was. So how do you choose?
And then there’s the other old chestnut – megapixels. 12-16-24-36-42-50-more? Does a lower pixel count really mean less detail? Does a higher count mean more noise on the image? Which is best? Is there a definitive best at all?
And how many points of focus do you need? 50-100-200-400-693? Do you really need more than 1?
And that’s all before you even start using your camera…
What’s changed in photography is the technology but unlike many technological advances, it would be true to say that the changes to cameras haven’t been so well designed.
Find your way to a modern camera menu and there are between 24 and 36 different screens to wade through, each with 10-12 settings on them (that’s a potential 432 individual settings).
It’s unsurprising then that the thing I hear most from new camera users is that not only are the concepts of creative photography difficult to understand and often poorly explained but the bewildering array of technical terms and features are, too.
SO MANY TOYS, SO LITTLE EXPLANATION
It is a simple statement of fact that a modern camera is more complicated than an older one. Like everything else, photography kit has become computerised. As in, ‘that’s not a phone in your pocket, that’s more technology than landed man on the moon’.
But whereas when you set up your pc or phone for the first time there’s a gentle walkthrough to get you up and running and built-in explanations of its features and abilities, with your camera there is not. Even worse, we’re all familiar with computers and the terms and concepts that go with them. Whereas when you look at your camera, its screens and dials are full of unfamiliar terminology:
12 White balance modes;
All of which sit on your camera without explanation. No wonder you’re confused. Who wouldn’t be?
So, what's the best way to learn, Bill?
Now, you could argue that I’m talking about this only because I’m launching my range of photography courses and will advocate those as the best way to learn.
Well, duh. 😉
In truth, however, it’s while I’ve been preparing my lessons that I’ve been considering what is the best way to teach my subject.
The internet is a fabulous resource and the first place most of us go for any information. So how about the internet?
Certain long form tutorials are perfectly suited to online tuition. Indeed, I use it extensively for this purpose. I’ve worked my way through many a software tutorial (from Powerpoint to Photoshop) and am currently working my way through Daz Studio 3D tutorials to use as part of my photography lessons. For learning software, the internet is perfect.
WHAT'S DAZ 3D?
Daz Studio is 3D modelling animation software but I’m using it as an aid to teach photography concepts because it replicates camera lenses and lighting effects perfectly. Now don’t misunderstand me, it makes up less than 5% of my teaching set but computers offer new tools with which to teach and explain concepts which it is difficult to otherwise set up or visualise.
So, I ♥ the internet.
The web is also excellent and, one might argue, best suited to the short form question and answer session. You know, ‘show me Korean restaurants nearby’, ‘who directed Harold and Maude?’, ‘where can I find the cheapest flights to Barcelona over a whole month?’*
So, is the internet now the best place to learn photography? No. Why not? Because you don’t take photographs sitting at a desk.
Photography is an activity
Photography is a balance of theory and practice studied and then practiced in a real-world situation.
You have to get out of the classroom to take photos.
Classroom tuition on its own is not enough.
The ideal scenario is to have someone experienced with you not only to teach you the subject but to be with you when you put those lessons into practice, too, in the outside world.
The advantage of having an experienced tutor on hand to advise you is immeasurable.
You need someone with you to explain why what you thought would work didn’t - and then how to remedy it. You need someone to show you a stunning view and then use your eye and knowledge of your equipment to turn that into a stunning photograph.
One of the things that makes my courses different is that a third of them are taught outside, where you’ll actually take photos. I consider this an absolute necessity. Learning how to do something when sitting in a warm classroom with the tutor is a lot different to doing it half way up a windswept hill with no desk, or tutor, to lean on.
It’s the equivalent of learning to drive a car without ever getting into one. You can learn the techniques and rules but practice is entirely different.
And remember all those tools? The ones with a potential 432 individual settings?
Here’s a fact:
Cameras are loaded with myriad features and tools. Like most professional photographers, I turn the majority of them off. Why? Because in an attempt to do everything for me, they rob me of control of my image - and that is what photography is.
The list of what you do not need to use on a camera is infinitely longer than the list of things you do need.
And there is the nub of it. A camera used to be a fairly rudimentary mechanical device. These days it’s more like a computer. This is brilliant in many ways but even for accomplished photographers, the amount of options on a modern camera can be bewildering.
Knowing what those options are, having the functions explained to you, understanding why you don’t need them all every time, de-mystifying the unfamiliar technical terms and concepts means that you can ignore the technology and focus on shaping your image, instead.
Having a tutor in the field when you practise in a real-world scenario makes a massive difference. You can be told in a classroom what to look for, how to shape an image, where to create focus and interest but when you’re on a busy street, halfway up a mountain, standing on a beach, having someone guiding you to find those things , to extract something interesting from the commonplace around you, is invaluable. And it cannot be found online.
So, of course I hope you’ll join me for my courses but I don’t expect you to sign up without trying-before-you-buy. A 9-week course is a sizeable investment of time and money, which is why I offer a 90-minute taster session so that you can see if this kind of tuition is for you.
Take a look here for details and to book your place. I hope to see you and answer any questions you may have soon.
A friend of mine was in a terrible road accident about three months ago and has scarring on her face. She showed me a recent photograph of herself taken on her mobile phone.
‘Do I really look like that?’ she asked.
The answer was ‘no’ and the reason why reminded me that, even though photography is going through a golden age of accessibility thanks to mobile phones, people still don’t understand that things in the camera don’t look the same way they do through your eyes. Yet, such is our touching faith in technology, we imagine the photo represents the truth more than what we see in the mirror or even with our own eyes.
Well, it ain’t so and here’s why.
It’s primarily down to the type of lens used and the processing that goes on in the background.
By the way, whenever I say ‘camera’ in this piece, I mean either the camera in a phone or a top-range dslr and anything inbetween.
DIGITAL CAMERA PROCESSING
Let’s start by disproving a commonly held belief:
The camera records what I see accurately.
It doesn’t. There’s no end of image tweaking that goes on in modern cameras (or phones) BY DEFAULT.
My new phone is a Motorola G6 Play. In the initial setup for the phone, one of the questions was ‘Do you want to keep the display settings at their default, Vivid? Or do you want to set them to Standard? Meaning less ‘poppy’ but more natural. The first thing I do when buying a modern camera is to turn off all the automatic processing that manufacturers build into it. I don’t want the shadows lightened, for example: I frame with shadow, as in this example:
The default settings on any modern camera, whether a top-end DSLR or your humble camera phone, are devised to give you an image which makes everything visible, especially areas in deep shadow or very bright light.
Manufacturers used to have lots of differing names for it but the principal is the same: lighten shadows to expose more detail, tone down overbright areas to do the same. This results in an even exposure across all areas, light and dark.
For the majority of people, this is a desirable thing and is why you rarely see a ‘bad’ photo these days. Under or over-exposed shots are a rarity thanks to this kind of processing. Even blurring is less common thanks to impressive camera shake reduction technology.
DON’T YOU MEAN HDR? Now, you may be thinking ‘he’s talking about HDR’ – and if you don’t know what HDR is, you can find an excellent description of what it is here. I’m not talking about HDR, however. I’m talking about the default processing that goes on in your camera or – especially – your phone processor, before you even engage the HDR setting.
The truth is, however, that these default settings don’t convey an image accurately. Along with lightening shadows and toning down bright areas to expose more detail, they:
Increase contrast (minimising mid-tones to increase the clarity between light and dark areas, disastrous when applied to delicate shifts in skin tone);
Increase saturation (pumping up colour) and;
Increase sharpness (increasing the definition of the entire shot in an aim to add detail, changing the consistency of smooth areas to that of a gravel driveway. All that moisturising for nothing!).
For a landscape, or a group photo of people, these default effects are fine but for a selfie or portrait shot, such processing tends to ‘harden’ people’s faces and make them look spray-tanned brown or lobster red. The thing is, with mobiles, you mostly cannot turn these settings off. This is why phone manufacturers were quick to add a variety of filters to compensate.
Ever taken a selfie that makes your eyes bigger, smooths your skin and adds floral headbands and hearts flying around your head? Judging by my Facebook and Instagram feeds most of you have. Well stop it. You’re a person, not an elf or an anime character. Although that specific filter is at the extreme end of the spectrum, with the ‘rise of the selfie’ (the working title for the next Star Wars film) phone manufacturers have added dozens of ‘portrait’ filters to compensate for the unflattering effect of their default sensor settings.
So let’s return to my friends question: ‘Do I really look like that?’
Clearly the answer would be, ‘no’ but there’s another, more compelling reason, why portraits and selfies taken on a mobile are inaccurate: the lens.
HOW A LENS CHANGES EVERYTHING
What does the lens do? Without wishing to state the bleedin’ obvious, more than anything else on a camera, the lens affects what you see. Different types of lenses capture the image in different ways and are best suited to different types of photography.
Sports photography requires a zoom/telephoto lens to enable you to get close to the subject from far away while close-up nature photography would require a macro lens, enabling you to be millimetres away from your subject while still being able to focus.
You can take a photo with any lens but some are better suited to certain tasks than others. Let’s avoid getting too technical on this because with photography it’s all too easy to do so, so bear in mind I’m;
talking about smartphone lenses vs camera lenses and;
Talking about what lens gives you the most flattering portrait shot.
WHAT DIFFERENT LENSES DO
To understand what I mean let’s take a look at a range of photographs of a landscape below. For these photographs, the camera would have been mounted on a tripod and pointed towards a fixed view. The position of the camera and the direction it is pointing remain unchanged.
Nine different lenses were used to take each photograph, each lens being a different focal length, from an 18mm lens up to a 300mm lens. In the image, you can see the difference changing the lens has on the photo you get.
Now let’s look at what those different lenses do when pointed at a face. Here’s a good example of how different focal lengths change the shape of a face from a lighting tutorial on the Pro Video Coalition website.
As a general rule of thumb, when it comes to portrait photography, most photographers would choose a lens in the 85mm-300mm range as it makes the face look closer to how it does in real life. Anything below 50mm begins to distort an object close to the camera.
An article on the Techspot website about smartphone camera hardware makes this statement:
’All smartphones fall into the wide-angle lens bracket, typically somewhere around 24-30mm.’
And that, in a nutshell, is why they are not good for portraiture.
However, rules are made to be broken. Look at this example by photographer Zulmaury Saavedra. It’s an interesting portrait that uses the distortion caused by the wide angle lens for creative effect but it is certainly not a realistic interpretation of what the model looks like.
It’s really hard to find an example of a bad portrait caused by using the wrong lens because no photographer wants to put bad portrait photos online!
I hope you are closer to understanding that a camera on a phone produces poorer portrait shots because the lens is not the ideal type as it distorts features. Also, the default processing in the camera is unflattering for portraiture.
As with many things, it’s a question of the right tool for the right job.
If you found this article interesting, here are links to some other websites that you might like, too.
I also kept a blog of my 2013 California trip which you can find by clicking here or on the image below.
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