How to take good photos?

How to take good photos?

How to take good photos?

This question is asked sooner or later by any amateur photographer, and the most common misconception is the misconception that a good camera automatically guarantees good shots. There is a slightly less common, but also critical misconception: it takes the lens, not the camera. Moreover, there are a dozen other misconceptions that are not at all common and not so important, but all of them will take up dozens of pages as part of a thesis on photography … the essence remains the same – you can’t learn to shoot (or, as our extremely talented colleagues crookedly translate, “take good pictures”) just by buying an expensive camera or lens. It’s not even stupid: it’s just a waste of money.

By the way, there is another misconception: you can’t think that the text below will help answer all questions or claim to be unique and objective – this is just another opinion of another person.

Firstly, I will immediately dispel both misconceptions … You should never forget that any rule has a scope for its application. So, for example, it is pointless to apply the laws of genetics and selection in the literature. The application of the thesis that a good camera is capable of taking good pictures is built according to the same scheme (on this occasion, there was even a joke on the Internet about installing an additional “masterpiece” button on the camera): in the hands of a good photographer it will be – however, no one will argue that the frame itself is ultimately determined by the photographer, and not by his photographic equipment. If you give the same photographer a focusless soap dish, he will still take a good shot. Putting a professional camera in the hands of a beginner, you will almost certainly get almost the exact opposite result – an amateur will not take pictures with them even as he would with his “soap box”.

Today, compact cameras are very different from the cheap focusless “soap dishes” of film times: they are so crammed with electronic aids that help a novice photographer that they deliberately free up part of the brain in order to free up more resources for thinking about the subject of shooting, and not about which key press. Moreover, marketers-photographers are constantly working on compacts (there are none, but manufacturers think differently), who are trying to improve not only design, but also ergonomics by reducing the number of buttons and simplifying the algorithm for controlling the shooting process (the ideal, in this case, is one and only release button). The same marketers spend a long time developing scene modes (in fact, this is just a set of camera settings that are suitable, in most cases, for a specific situation), built into the camera, and not using them for a novice photographer (and always shooting at full automatic) is the height of ignorance .

On the contrary, in more expensive models, the manufacturer tries to open as many customizable functions as possible – this applies not only to DSLRs, but also to many models of “advanced” compacts (this is expressed in numerous buttons on the body). And this is despite the presence of the “auto” mode in lower-level models (among advanced ones, of course): the specificity of large cameras is that in order to shoot with these cameras, you already need to learn the materiel. In other words, you need to buy a serious model only after realizing that photography is your hobby. If you know for sure that photography is not for you, and you shoot no more than 30 frames a year, and print everything in a row, including cropped heads, you should not buy a camera “for show off” – all show-offs will turn into a Cinderella pumpkin, once you show your photos. In this case, it’s better not to torture yourself and those around you – it’s easier to buy an expensive and stylish compact, since now there are a lot of them.

The statement about what “removes the lens” comes from approximately the same area and comes from purely photographic disputes. If you don’t understand the difference between “fix 50/1.8” and “fix 50/1.4” other than the obvious (price), this statement loses all meaning. On any forum, you can meet a crying consumer who, “on the advice of respected members of the forum,” purchased a Canon 5D with a set of fast fixes and now he’s broke to carry everything, therefore he shoots with Sigma 28-200. Interestingly, different people under the concept of “good lens” imply completely different categories: some have first-class zooms, some have even cooler fixes, and some “whale” or Nikkor 18-200 are enough for the eyes VR. To decide which is better, you must first firmly understand what a person needs – after all, the issue of buying lenses is very costly and problematic (some are almost impossible to buy even in Moscow). And throwing away money on the principle of “bought and sold”, you will always feed dealers.

A long introduction is a brief summary: only “hands” are filmed (in fact, the brain, but the expression “golden hands” is also not literal), not a camera or, even more so, a lens. Moreover, even with computer editing, too obvious errors cannot be removed and a masterpiece cannot be made from a photo.

It would seem that you should properly grow your arms, train your eyes – and that’s all, good photos are guaranteed, and a place in the ages is deserved. But no, unfortunately, genius is not given to everyone, although there are quite a few people with one or another mass of talent. However, the bulk of users hanging out on photo sites – the so-called. “artisans”. These are people who have mastered the technical aspects of photography: knowing the basic principles of building a composition (golden mean, horizon up and down, object from the center, not turning the face directly into the lens, etc.) and corny following the light (i.e. just trusting your eyes) – the second important component after your hands – you can achieve more than tolerable results. This approach is available to everyone, regardless of genius – if you develop your skills, then at least among your friends you will be considered a real photographer …

Most photographers stop at this stage: once you know how to shoot decently, and there is nowhere else to grow, you start to practice. Only life then puts everything in its place, because there are only a few real photo artists in the world, and millions of books are published.

There is only one conclusion from this: it is the hands, and not the Nikons and not the Kenons, that determine the result, and the result does not care at all what apparatus it was created with.