Logo 1 #topThe Poor Man's Fix-it shop.[not for the proficient craftsman] . . . .Logo 2

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...PHOTOGRAPHY - GETTING THE PICTURE
(click image for picture)



 

 

    The difference between a snapshot-taker and a photographer is more than just the fancy equipment used, but the ability to see in a different way what everyone else is yawning at. While the people may be oooing and aaawing about a beautiful sunset, the photographer is studying the brilliant colors of the sunset as it reflects off a petal of a flower or the shadow created by a bug on that leaf.

    The picture to your left is just such an example. I placed my bike next to a tree that was being spotlighted from the ground, creating an interesting effect.

 

 


 

 
    There's nothing spectacular about this photo, but by having the pump in the foreground framing the bike an interest is created..

 


 


    I really enjoy table-top photography. Here's a picture of a model placed in a natural setting. I've lost all the special photos I took many years ago, unfortunately. 

    For table top photos I used a pre-war focal-plane Exacta with interchangeable lenses and viewer so I could see what I was viewing from the top rather then having to stand behind the camera. I had many filters and close-up lenses and remote shutter releases for this project. The greatest of cameras, at least for this purpose.

 

 


 


    In the eye of the beholder.

    In the following photos pay close attention to what's being seen, not just the objects themselves. In the picture to your left notice the junction of the child's balloon and the jet planes, something that had to be noticed before the exact moment the photo was snapped.  Also notice the framing of the picture. This photo is not cropped, it's exactly as what came from the camera, using a strong telephoto lens. This can be said of all these photos. However, unlike the first three pictures, all those following are catching the moment shots, not set up with time to spare.

 


 

 
    Another such shot, this time with a single engine plane rather than modern jets. Time is captured in these photos, depicting the past in conjunction with the present.

 


L

 

 

    What are the chances that a person could see patterns in a hot air balloon close up with a high power zoom lens? Surely only a good photographer with much experience using a camera and having knowledge of color and design would notice such a thing. Does it sound as if I'm bragging? Read on.

 



 


 

 

    I have many shots such as these of this mini rodeo, every shot being perfectly framed and capturing the moment at it's apex Brag, brag, brag, but read on.   


 


    Nothing unusual about this helicopter shot, it's just another of the many taken at the air show presented earlier.


 


 

   Another helicopter caught in a more dramatic scenario. This is one of several sequential shots taken at Universal Studios when Miami Vice was so popular.




 
    I have roles of film of this and many other subjects, and from the very first picture there wasn't a single one of them that didn't stand out as spectacular. I have shots of Disneyland, of train exhibits, of model train shows, and various other subjects. Most are lost now, or at least I can't find them. Only a few have survived the years. 
   Another spectacular shot inside a building. Again, notice the attention to details.
   Who is this pretending as if he knew what he was doing with my expensive camera? Why, it's the photographer of all but the first two of the photos presented on this page. He's only ten years old, and from the first photo, the ones taken at the rodeo, he has shown himself to have an amazing natural ability with the camera, and an eye for the shot as well. As we stood at the fence watching the rodeo I asked him if he would like to take some pictures, expecting them to be out of focus, of the sky and ground, and everything else associated with someone who had never held such a camera. Instead every shot he took was spectacular, which I couldn't have known until the film was developed.
   I had given the boy only a minute of instruction as to how to work this complicated camera (a professional Konica) that is unlike the no-error cameras of today. Somehow the boy just took to the camera as if he was born to it. He learned dark room techniques as well as taking the many pictures described above. I just turned all the picture taking over to him and resigned myself to taking pictures of him taking pictures.
   Along with the Konica and the Exacta I owned an Olympus Spotmatic with all the lenses, motor drive, and everything else that could possibly go with such a camera. I had dreams of attending a school of photography such as Brooks in California, but instead I entered the field of art, and recently gave away all the cameras and dark room room equipment to a city photographer (for the fire department) since all they were doing was taking up space in my storage area.
 

 


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