What shall I do?
Mojtaba
shots. I use Chinon and Mamiya 35 mm. As long as I understand of gears
(in fact very little) there is nothing wrong with these syetems. I
belive Chinon lenses are good and sharp but I think the Chinon
camera's meter slightly over exposes the pictures as they are normally
a little lighter than they should be. I, personally have big problems
to find the right view to capture. However by looking more and more on
good photographs I have developed a better understanding but still I
feel most of my pictures are without life. Pictures which do not
capture your attention and do not talk to you. I understand that I may
progress more if I read some good books but I am not sure if it will
help. May be I shall get a light meter or may be I can set the film
speed differently. Or may be I shall get a modern camera system? I
have a last option too which I do not like very much: May be I shall
sell all my equipments and finish this interest.
Mojtaba
mojt...@start.no
Brandon
If you are currently getting poorly-exposed lifeless pictures, replacing
your gear will only give you properly-exposed lifeless pictures.
The least expensive way to fix your exposure problem is to manually adjust
either the EV compensation or the ISO speed to override your meter. This
assumes that the errors are consistent and, in fact, due to a fault in the
gear. (Sorry, I'm not familiar with the systems to mention.)
Equipment aside, the key to getting images that "capture your attention" and
"talk to you" is to learn the fundamentals of design, which include balance,
proportion, rhythm, perspective and color. You can learn those better in a
drawing class than from any camera book or magazine.
Don't give it up.
-------
Brandon
Salts2001
>I
>feel most of my pictures are without life. Pictures which do not
>capture your attention and do not talk to you. I understand that I may
>progress more if I read some good books but I am not sure if it will
>help.
I feel exactly the same way about my work that you feel about yours. DON'T
give up! It may take time, but you can improve your skills.
Reading books on both art and photography, taking classes and lots of practice
all help. But one tool I used was to look at the work of accomplished
photographers. I analyzed the photo composition and what seemed to make it
come to life. I took what I learned and applied it to my own work.
One more thing, you might want to have an objective person evaluate your
current work. If you're anything like me, your way to critical of your own
work. My wife won't let me discard any photos until she reviews them. She
feels that I have thrown some great work in the trash because I was overly
critical.
Give it a try and then keep at it. I've been doing photography for 27 years
and I still think my work is crappy. However, some people like it and pay me
for it, so I keep taking those crappy photos and let my wife do the dirty work.
Hope this helps.
Merrill
Magus
news:20021023173301...@mb-cs.aol.com:
> One more thing, you might want to have an objective person evaluate
> your current work. If you're anything like me, your way to critical
> of your own work. My wife won't let me discard any photos until she
> reviews them. She feels that I have thrown some great work in the
> trash because I was overly critical.
Good advice.
However - there is a downside to other folks 'objectivity' too.
Years back , when I was in College, I would sometimes show my work to my
Mother during breaks at home etc.
For a start, she didnt 'see the point' of Black & White photography, and
nothing I could produce seemed to change that, so that was about two
thirds of my folio disregarded in one fail swoop.
My then girlfriend was much more 'street-level' and could see the
continual improvement in my work. But she would reject anything that she
considered had no artistic integrity (or brought into simple terms) - if
it was 'pretty' she likely wouldnt accept that it might have merit.
My friends / colleagues all offered opinions that could have led me to
wildly differing conclusions.
The worst 'critique' experience was when my College and the local Camera
Club held a 'competition night' - Oh dear! what a slating I had from a
bunch of stagnant loons with rigid rules and sheep mentality (and their
generally mediocre pictures to go with it).
I resumed solely judging my own stuff after a while.
During the years that I worked as a Professional Photographer, my clients
were of course the critics.
I'd like to think they were generally happy - I guess they must have been
because I didnt starve for all that time :) - but they were not
commenting on my 'work' but my interpretation / realisation of their
brief / expectations. I changed careers about five years ago by the way
..
The point is, the person you trust has to understand what it is you want
to achieve, or what your direction might be.
Its hard to find that person! - but, hey! - you know those answers...
M.
Lewis Lang
>From: Magus used4news@{REMOVE}bigfoot.com
>Date: Wed, Oct 23, 2002 6:47 PM
>Message-id: <Xns92B0F20E55D5C...@62.253.162.109>
Hi:
Agree w/ top comments and other comments posted in this thread. After you
adjust your I.S.O. on your camera for the right exposure you need to:
-Find your passion and shoot it. What brought you to photography? Was it
specific subject matter, the compositions of great shots, lighting, color, etc.
If it was the "vision" of other photographers more than any subject or
technical thing like lighting/composition/etc. then you need to study the work
of those masters you respect and find out what things work (and what things
don't work) in their work. You must have wishes, hopes, dreams, desires, fears,
things you love and hate - all these will inform your "vision" which is not
only what you have to say (or in the case of photography, show) but the way you
say/show it. Try to think deeper than just showing subject matter and find out
what statement you want to make visually about your subject matter and try to
improvise different, interesting ways/interpretation of showing this theme. You
(usually) only get out of a camera what you put into it - you wouldn't expect a
pencil to write interesting prose all by itself, neither should you expect
miracles out of a camera. The miracles are inside you, but first you must draw
them out of yourself by focusing in on (pardon the pun) what you want to say.
Your attention should be on your reactions to your surroundings/subject and
turning those into themes and interpretations of those themes, not on your
camera/"pencil." Penultimate technique (for its own sake) is the last refuge of
penultimate idiots and clones who don't want to grow as photographers. Don't
get caught up in technique and equipment, those are fun to talk about and to
play w/ but in the end its the image that counts. Practice awareness, practice
reading images, both yours and others, both w/ and w/o a camera. John Berger
(spelling) has authored a lot of good books on "seeing" and photography. I
believe there is also one by Henry? Wolf (spelling?) but I forget its name.
- Find a subject (or subjects) you love to shoot and go shoot them and learn
from your mistakes and use those mistakes not as discouragement but for
encouragement to do better next time.
-Find out which technical areas you are deficient in and correct those
deficiencies (composition, lighting, color, etc.) so your mind can enter
awareness/play/experimental mode and try new techniques to see which works best
w/ your vision/subject matter/what you have to say.
-Read (and apply as best you can) not only what you learn from books but what
you see in others work in magazines, newspapers, tv, the movies, painters,
sculptors, etc.). If you love to make great images (if not now, then in the
future) you should be reading good books on art, photography, etc. the way a
careless chocoholic diabetic likes to pop M&M's in their mouth, w/ a hunger and
a reckless yet driven abandon.
Here are some more advanced books/etc. to start you off with:
"BOOKS"/ETC. ABOUT "VISION":
Masters of Contemporary Photography (this is a series of different books, each
focusing on one or two masters of photography from Annie Leibovitz to Elliott
Erwitt. From advertising photography to sports and photojournalism, these books
not only go into the technical aspects of photography (from basics to advanced)
but more importantly they exlpore how and why each image was made - the minds
behind the photographs. Though this series is now defunct you can still find
them used at most local photography shows (look in the back of Shutterbug
magazine for their listing of shows) as well as from used real or online
bokstores like Amazon.com. You might also want to search on ebay for these
books too.
"PHOTOGRAPHY IS A LANGUAGE" by Whiting. Also not published anymore but worth
checking out at the book section of a photography flea market/show.
"The Art of Photography" from the TIME LIFE BOOK SERIES (may be available at
your library, used book store, photo flea market, Amazon.com, etc.
"Aperture", which is sort of a cross between a monthly? magazine and a book
also features detailed essays and photography from various contemporary/past
masters of photography.
Any monograph (book) that features the work of a photographer(s) whose work you
love. You know your loves in this area. If you don't/won't buy any of the books
on their work at least check their work out at the local Barnes
&Nobles/Borders/library (same difference, heh, heh)
Once every 10? years or so Popular Photography will have an issue worth buying
on a good photographer, even though its mainly an equipment rag as opposed to a
source of never-ending photography or photo knowledge. I think Amateur
Photographer (a British mag) and Photo Metro and Photographer's Forum are much
better from a photography/photographers/image/vision point of view. Camera Arts
also does well for more documentary work as does Double Take. Shots (is that
still being published) has photographs that tend to more of the fine art
snapshot/'crapshot" mode (some good and some rather putrid?). Occaisionally
American Photo has some interesting work as does Photo Insider and Photo Life
(Canadian magazine).
LIGHTING
"Light-Science and Magic" by Hunter & Fuqua - though more advanced,
understandable, and as far as value goes worth more than all the Brooks
Institute of Photography's course which deal w/ lighting put together.
The publisher ROTOVISION has a series (the Pro-Lighting Series) of books on
photographic lighting techniques. Each book in the series covers a different
specific kind of lighting subject matter such as "PORTRAITS", "NIGHT SHOTS" and
"BEAUTY SHOTS" (as well as nudes, glamor, fashion, architecture?, etc.). Yours
trulies work is in these books (seems that's about as close as I'm going to get
to selling my fine art photography in mass form ;-)). There are many other
books on lighting by Kodak (which also has an amateur series of yellow
photography books on various photo subjects and John Hedgecoe has a number of
generalized books on photography that teach about lighting, composition and
other aspects of photography - really just go to a Barnes and Nobles (if there
is one in your area) or an on-line bookstore to check out the plethora of books
in the photography universe on various photo subjects.
Dean Collins has a (book?/) video tape series dealing w/ the finer points of
studio lighting/etc.
PEOPLE PHOTOGRAPHY BOOKS/VIDEOS
Check out Gary Bernstein (books and videos on portraiture and portrait
lighting, Lisl Denis ("How to Shooting Portraits on Location" and "Travel
Photography" (right title name?), for instruction on fashion photography check
out both Robert Farber's books and monographs.
GENERAL
As mentioned above, TIME LIFE books has a series of books on different aspects
of photography from fine art to other topics (see above).
"National Geographic Field Guide" (or somesuch, sorry, I forget the exact name)
gets rave reviews from people/photographers on this ng although I haven't read
it in depth so I can't comment on it. Peter Burian who wrote/writes? for
Shutterbug (photo) magazine co-wrote this book and he used to post on this ng,
as did Bob Shell, I believe at one time...
There was also a bound photo magazine/book series that came out (as a book
broken up inot weekly/monthly? magazine installements) during the 1980's on the
technique and art of photography called "The Photo" - also check used boks
stores, Amazon, ebay, your local or county library, etc. for these "magabooks"
that had articles chock full of information on various how to's of
pghotography.
From camera technique to lighting to the business of photography Brian Ratty?
(I forget his last name) has a series of video tapes on different photography
subjects called "On Assignment"?, (from/published by Media West?) I believe
(someone please correct me if I'm wrong).
Go to your local museum or galllery(s) and art shows and check out new and
interesting paintings and photographs.
Look at movies and tv and MTV/VH! for their lighting techniques/etc.
Robert Farber has a hands on (as much as "hands on" can be in cyber space)
website/photoschool that will critique your work and teach you new
lighting/people techniques. I forget the URL but if you type his anmeinto a
search engine you will probably come up w/ it.
There is also something called www.photoschool.com (I forget if this is the
right URL/title but you get the idea).
-As much as it pains me to say this, because as said before, and I can write a
book about this from my experiences, try joining a camera club, at least for
the technical things and projects they'll give you to do and the talk/comradery
if not the judging part. There are/can be some really fine photographers (and
critical advice) as well as some really small stunted minds that will stunt
your growth as a photographer w/ their narrow minded opinions of what's good or
acceptable. Son't get into the trap of pleasing a judge just for a high
score/award on slide/print night, if anybody should be giving out awards for
you licking asses it should be your spouse not some numb nut judge w/ an
enlarged prostate for a brain (can you tell I really don't like (mindless)
judges? ;-)). Camera club members/photographers can become rather "incestuous"
- their photos begin to all look alike and have the same subject matter and
have the same models and conventions ie. rule of thirds placement of
landscape's sky/ground in a frame, use of a person in the foreground in the
same red jacket to give the scene a sense of scale (... and nausea, since after
seeing this for the seventeenth billionth time you begin to wonder if the
person in the red jacket has his own private Leer jet (perhaps Santa did
semi-retire and traded in his Canon reindeer for a Nikon Leer jet or the Fuji
blimp? and his red suit for a red wind breaker so that in between camera club
posings/pack rat shoots he could play "area of interest" for club shooters
whose empty foregrounds need all the help they can get) and makes a gentlemanly
hobby out of flying across the world just to be in different camera club
photographer's landscapes) in order to please the likes and avoid the
dislikes/prejuidices of the judges (never shoot flowers or cats if you know in
advance a judge who will be judging your work hates flowers and cats, or, make
sure an out of focus background has only one b.g. color instead of two or some
other silly kind of convention). After a certain point (days, weeks, hours,
milliseconds?) where you think you've learned all the technical/etc. things
from them and your images start seeming very "cloneish" (or perhaps I should
say "Klausish") - all your images will start to resemble not only one another
but also the rest of the camera club's images in a fossilized style that's so
putrid (and fossilized) and meant to please the judges and not yourself that
your photos look like the fossilized contents of an unflushed toilet you'll
know its time to call it quits at the club and call AAA for a jump start to
your head that will leave Jack Nicholson wish he'd never left the looney bin in
the film "One Flew Over the Cuckoo's Nest". When you've done your 3rd rat pack
shoot ("rat pack" meaning all the photographers or a group of them hunched over
each other pointing their lenses at the target, er, victim, er, I mean subject
- not Sammy Davis Jr., DIno, Frank and the gang from the early 60's) of the
same damn model (old man w/ corn cobb pipe in mouth in a yellow rain slicker as
"Old Man of the Sea", and the same model changed into a red cap and suit w/ his
wife similarly dressed for a "Mr. and Mrs. (Santa) Klaus" shot), yes you
definitely know its time to call it quits and grow your white beard and join
them on the street at Christmas time at a Salvation Army stand or start saving
for your very own red windbreaker and Leer jet so camera clubbers can now
photograph the same shot of you. Some of these model shoots produce such
similar results that you'd be tempted to open up the top of the carousel slide
tray on judging night and toss them in the air just to see if any of the
photgraphers could tell them apart w/ out the slide labels... I don't think a
roomful of "Mrs. Klauses" could tell the difference/them apart either...
-Join a camera club, see above, then escape it! :-)
-Perhaps there is a community or full scale college or University, art center
or photography center in your area that has photo courses as part of its
program or at night/on weekends.
-If you have the money/desire check out some of the photography
workshops/seminars either in your area or around the country - Maine
Photographic Workshops in Maine (of course!), Palm Beach Photographic Centre in
Delray Beach, Florida, etc. and there are others - again check out a search
engine such as Yahoo! and type in "photo" and "workshop" to get a list of
websites on these.
-Go to an A.S.M.P. (American Society of Media Photographers, I believe) or P.P.
of A. group meeting in/near your city if there are any. These are professional
photography groups/associations that open their doors to the
public/non-professional photographers w/ interesting group speakers who are
masters of the field (Duane Michals, Barbar Bordnick, Arnold Newman, etc.).
Perhaps you'll actually meet a friend or two at the camera club that you can
talk photography w/ and get a good critique from w/o them grinding your work
into the ground w/o them masking their prejuidices for or against a certain
subject matter or technique as erudite opinions like a twisted
friend/judge/relative who knows neither the inner you and what you were trying
to achieve and why nor your work.
-For critiqueing you also might want to check out photo.net and other photo
critique sites (type in the words in quotes "photo" "critique" into a search
engine such as Yahoo! in order to get links to these kinds of sites where you
can post your images and get some worthwhile and some not as worthwhile
commentary on how to improve your work and/or what works and what doesn't work
and why in your work.
I can go on and on but my fingers are starting to smoke from typing so much so
I'll just repeat the best advice, which was already given before I could give
it, through the words of Captain Peter Taggart from the movie "Galaxy Quest"...
"NEVER GIVE UP, NEVER SURRENDER"
and
"Photography should be a three letter word... 'fun' - if you're not enjoying
it, its not photography" - Š FOREVER ;-) Lewis Lang
Hope this helped.
"OK Scotty, ...Energize"... :-)
Lewis
Check out my photos at "LEWISVISION":
General Tsao
On one hand, I too have problems determining what shots are good - in most
shots, I can always find something I could have done better.
And then comes the double whammy - with wildlife photos, I have a hard
time throwing anything away. I have a shot of a lioness that is
aesthetically quite crap - poor lighting makes for a very dull image. But
this is the lioness that paid me my night visit, and she has a very cool
expression on her face (I love the expressive faces of cats, btw)... as if
she is trying to figure out a math problem or something. I love this
photo - and hundreds more like it. Throw it away? HELL NO!
So.. I am now condemned to look at a whole lot of photos that the
photographer in me (such as he is) finds imperfect, and the wildlife
enthusiast in me loves.
I'll accept large cash contributions for my relief fund.
--
Vandit Kalia
"How do your divers see the fish? Do you have a glass-bottomed boat?" -
Director of Tourism, Andaman and Nicobar Islands
Mark Morgan
"Lewis Lang" <cont...@aol.comnospam> wrote in message
news:20021023225929.23010.00000126@mb-
<SNIPPED huge book, worthy of publishing>
:)
That was a masterpiece, Lewis.
I'm printing this one and sticking it in one of my photog books.
Thanks.
William E. Graham
"General Tsao" <vka...@netaxs.com> wrote in message
news:FyXt9.1261$vZ6.1...@newshog.newsread.com...
> I am doubly cursed, I think.
>
> On one hand, I too have problems determining what shots are good - in
most
> shots, I can always find something I could have done better.
>
> And then comes the double whammy - with wildlife photos, I have a hard
> time throwing anything away. I have a shot of a lioness that is
> aesthetically quite crap - poor lighting makes for a very dull image.
But
> this is the lioness that paid me my night visit, and she has a very
cool
> expression on her face (I love the expressive faces of cats, btw)...
as if
> she is trying to figure out a math problem or something. I love this
> photo - and hundreds more like it. Throw it away? HELL NO!
>
> So.. I am now condemned to look at a whole lot of photos that the
> photographer in me (such as he is) finds imperfect, and the wildlife
> enthusiast in me loves.
>
> I'll accept large cash contributions for my relief fund.
>
> --
> Vandit Kalia
But this is no different than the problems we all have with junk that we
keep simply because we have had it since we were young so we can't part
with it because of the fond memories it gives us....You keep your poor
photo of the lioness not because it's a good photo, but because it's
that lioness....You don't have to show it in any photo contest, just
break it out now and then to look at it........
Lewis Lang
>Date: Fri, Oct 25, 2002 12:25 AM
>Message-id: <WI3u9.160214$o.83...@news1.west.cox.net>
>
>
>"Lewis Lang" <cont...@aol.comnospam> wrote in message
>news:20021023225929.23010.00000126@mb-
>
><SNIPPED huge book, worthy of publishing>
>:)
>
>That was a masterpiece, Lewis.
>I'm printing this one and sticking it in one of my photog books.
>Thanks.
You are most, most welcome Mark :-)
Regards,
Mojtaba
wrote:
>If you are currently getting poorly-exposed lifeless pictures, replacing
>your gear will only give you properly-exposed lifeless pictures.
Exactly, but I thought at least better equipment can improve the
lighting etc. and I can work more on composition, content.
>
>The least expensive way to fix your exposure problem is to manually adjust
>either the EV compensation or the ISO speed to override your meter. This
>assumes that the errors are consistent and, in fact, due to a fault in the
>gear. (Sorry, I'm not familiar with the systems to mention.)
My cameras both are basic systems and do not provide exposure
compensation. So the only way is correcting the exposure by ISO
setting.
>Equipment aside, the key to getting images that "capture your attention" and
>"talk to you" is to learn the fundamentals of design, which include balance,
>proportion, rhythm, perspective and color. You can learn those better in a
>drawing class than from any camera book or magazine.
>
>Don't give it up.
Thank you.
Mojtaba
>-------
>Brandon
>
Mojtaba
>
>
>>I
>>feel most of my pictures are without life. Pictures which do not
>>capture your attention and do not talk to you. I understand that I may
>>progress more if I read some good books but I am not sure if it will
>>help.
>
>I feel exactly the same way about my work that you feel about yours. DON'T
>give up! It may take time, but you can improve your skills.
>
>Reading books on both art and photography, taking classes and lots of practice
>all help. But one tool I used was to look at the work of accomplished
>photographers. I analyzed the photo composition and what seemed to make it
>come to life. I took what I learned and applied it to my own work.
Yes, it is a good way to improve. But the problem is when I look at
good works I see how bad are my pictures. I shall try to get help to
better my pictures not to disappoint.
>One more thing, you might want to have an objective person evaluate your
>current work. If you're anything like me, your way to critical of your own
>work. My wife won't let me discard any photos until she reviews them. She
>feels that I have thrown some great work in the trash because I was overly
>critical.
You are lucky. My wife is not good at analyzing pictures. Earlier I
had some opportunities like this but now i shall only try the
internet.
>Give it a try and then keep at it. I've been doing photography for 27 years
>and I still think my work is crappy. However, some people like it and pay me
>for it, so I keep taking those crappy photos and let my wife do the dirty work.
>
>
>Hope this helps.
>Merrill
Thank you.
Mojtaba
mojt...@start.no
Mojtaba
>Hi:
Hi Lewis,
Perhaps you wonder what happened to me? Asking a question, getting
several good and helpful answers and disappearing! I was right here
back the monitor. I read all the answers but your reply here was in
fact way much much more than a reply I expected. I have read your post
several times. I found it very helpful. I am overwhelmed of such a
great post you have used your valuable time to type and honestly I do
not know how I can thank you. It is good to know that on the other
part of the world there are good photographers who are also very good
and helpful people. Please excuse my shallow English, I cannot
properly express my gratitude for your great post here. For the time
being I am reading and looking on good photo works and I am learning
more and more.
Thank you,
Mojtaba
On 24 Oct 2002 02:59:29 GMT, cont...@aol.comnospam (Lewis Lang)
wrote:
>Agree w/ top comments and other comments posted in this thread. After you
>adjust your I.S.O. on your camera for the right exposure you need to:
Cut only for brevity.
Pudentane
>
> On Wed, 23 Oct 2002 21:05:07 GMT, Brandon <mxbr...@optonline.net>
> wrote:
>
>
>
> >If you are currently getting poorly-exposed lifeless pictures, replacing
> >your gear will only give you properly-exposed lifeless pictures.
>
> Exactly, but I thought at least better equipment can improve the
> lighting etc. and I can work more on composition, content.
> >
> >The least expensive way to fix your exposure problem is to manually adjust
> >either the EV compensation or the ISO speed to override your meter. This
> >assumes that the errors are consistent and, in fact, due to a fault in the
> >gear. (Sorry, I'm not familiar with the systems to mention.)
>
> My cameras both are basic systems and do not provide exposure
> compensation. So the only way is correcting the exposure by ISO
> setting.
If they're basic systems, the best way to compensate is by understanding
the relationship between shutter speed, aperature and the amount of
light that gets to the film. Learn what happens when you open up one
stop or choose one stop slower shutter speed.
--
I do not speak for any government, corporation or organization.
These are MY opinions. No one else is to blame.
Tony Parkinson
news:kgntrukfc62vvm4cj...@4ax.com...
> On 23 Oct 2002 21:33:01 GMT, salt...@aol.com (Salts2001) wrote:
> >
> >Reading books on both art and photography, taking classes and lots
of practice
> >all help. But one tool I used was to look at the work of
accomplished
> >photographers. I analyzed the photo composition and what seemed to
make it
> >come to life. I took what I learned and applied it to my own work.
>
> Yes, it is a good way to improve. But the problem is when I look at
> good works I see how bad are my pictures. I shall try to get help to
> better my pictures not to disappoint.
>
look "good" and your pictures look "bad" ? Figure that out and maybe
you can improve your pictures ?
Mojtaba
<NOSPAMar...@btinternet.com> wrote:
>Have you tried to work out what it is that makes the good pictures
>look "good" and your pictures look "bad" ? Figure that out and maybe
>you can improve your pictures ?
It is different. Sometimes the good pictures have a very beautiful
lighting but most of the times I admire the simple but still "talking"
compositions. I am not mentioning portraits as I am totally horrible
and do not have any ambitions in that field.
In fact I have figured your point and am working on it. Knowing the
failures is a good help. At least now even if I have no great shots on
a film at least I do not have bad pictures (everything wrong in the
picture).
Thank you for your input
Mojtaba
Lewis Lang
>Date: Tue, Oct 29, 2002 7:15 PM
>Message-id: <mhntruce14gv4oth3...@4ax.com>
>
>
>>Hi:
>
>Hi Lewis,
>
Hi Mojtaba:
>Perhaps you wonder what happened to me?
That thought had crossed my mind ;-)
Asking a question, getting
>several good and helpful answers and disappearing! I was right here
>back the monitor. I read all the answers but your reply here was in
>fact way much much more than a reply I expected. I have read your post
>several times. I found it very helpful. I am overwhelmed of such a
>great post you have used your valuable time to type and honestly I do
>not know how I can thank you.
You already haved, thanked me that is :-) And you're very welcome, I hope you
can use some of the ideas in it to further help you in your transformation from
the photographer you are to the one you want to be :-).
It is good to know that on the other
>part of the world there are good photographers who are also very good
>and helpful people.
Thanks. Lot's of very helpful people here and also not on the newsgroup, but in
"real life" too, search them out too. Though nobody can tell you who or what to
be but yourself, there are kind people/photographers out there w/ good ideas
that can help you on your way - just search those people out and don't give up
the ship, the maneur of your failures can feed the roses of your successes if
you learn what works and what doesn't work in your shots :-). Also, don't be
afraid of failures, sometimes mistakes lead to new and interesting ideas. Play
w/ your photography, it's all fun, or at least it should be, otherwise, "if its
not fun it ain't photography>" :-)
Please excuse my shallow English, I cannot
>properly express my gratitude for your great post here. For the time
>being I am reading and looking on good photo works and I am learning
>more and more.
>
>Thank you,
>
>Mojtaba
>
Your very welcome, Mojtaba - may all your shots be more than good (or bad), may
they be _interesting_ (and may they be fun to do!)
>mojt...@start.no
>
>On 24 Oct 2002 02:59:29 GMT, cont...@aol.comnospam (Lewis Lang)
>wrote:
>
>
>>Agree w/ top comments and other comments posted in this thread. After you
>>adjust your I.S.O. on your camera for the right exposure you need to:
>
>Cut only for brevity.
Regards,