It seems that most photographers believe you should shoot an image in RAW and bring it into Photoshop to finesse it, but we don’t agree. We know that you can shoot what you visualize in-camera, with no postproduction refinements necessary. We ask our students to shoot in JPEG format and review every image they shoot on the LCD screen. We want them to focus on building their skills, not just their portfolios—to take bad photos and try to fix them in the field. We want them to learn to master all of the controls at their fingertips. We think it’s essential that they learn to see and use the light that surrounds them.
At some point, every photographer has to take responsibility for his or her photographs. For our students, this moment comes during their very first class. We ask them to ignore their camera’s internal light meter and concentrate on selecting exposure settings that allow them to produce images they like, rather than blindly selecting the options the camera’s meter recommends. “You have a monitor, so use it. You can tell if your image is too dark or too light when you look at your LCD. If you don’t like the image you shot, then fix it,” we say. We want our students to take a leap of faith.
Only time, patience, and perseverance will make you a great photographer. Never listen to those who say one camera or lens is better than another. Everyone can create magic with their camera, no matter the make or model as long as they are in manual control and start with a solid vision.
Look at your LCD when you make a shot. If something looks wrong, fix it right then and there. Don’t rely on postproduction editing.
”Is it what you envisioned? Does it reflect how you feel?” we ask our students. “If the answer is yes, it is perfect,” we tell them. When you’re getting started, spend some time taking photographs and studying them on your LCD screen. Think about the lighting in the image. Is it to your liking? If not, fix it. Don’t stop until your shot looks just as you wanted.
We believe that the question posed to us shouldn’t be “Do you like it?” We’d rather hear “How do I get this more in focus?” “How do I add more light?” or “How do I change my depth of field?” Those are questions that a photography instructor can answer, that’s the physics stuff, the mechanics. Only the artist knows if their message, their image, is a success.
Exposure can make or break an image. No, it doesn’t have to be “normal” (in fact, we prefer exposures that help to create an image that is a departure from reality), but it must suit your intentions. The exposure may be brighter—hey! cheerful is a mood too—or darker than what the camera’s internal meter might deem “correct,” but if you’re happy with it, it’s perfect.
