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Camera Basics
Good Camera Basics are a Must for an Artist; Here are Some Need-to-Know Tips

Madeleine Jacobs
www.ArmChairPaintClasses.com 

(This article is based on using traditional camera and film which many artists still use)

   Since more and more artists than ever are learning to use cameras for reference shots, this article is to help  them produce better reference photos of good quality.   But before starting, look at your camera with a view to reference photos and keep in mind what your goal is.  Remember that your camera is a sketching tool, and extensions of your hand and must be looked at in that  light. You also need to remember that what you see through the lens is not always what the camera sees.  The best thing about taking these reference photos is that you can capture permanent detail to work from  later. Working in the studio from these photos allows you the time to organize, create, analyze and re-think how  to portray this information on paper. It won't change, or move on you! The information is there. Now, don't get me wrong. There is nothing wrong with painting on location, however, but your subjects will move, light will change and a good quality reference photo will allow you to work at anytime of place from the same material.   One thing to remember, though, is that while reference photos are great to work from, they are not meant to be exactly duplicated brush stroke from brush stroke. Several reference photos are actually a much better idea  to give you the information you need for the subject matter, the lighting, composition and so on.  Duplicating the photo is not the ultimate goal. After all, you have the original photograph!    Here are some ideas to start with for getting some good equipment; 

35mm SLR This is one of the camera's I use myself. (I also use a great Minolta)  In fact, I've had it so long, and am so comfortable with it, that it's become my favorite! Mine has a built in light meter and much of it is automatic. However, I still have some control over focusing, shutter speeds and some of the lighting as well. While not a complete manually operated camera, I have some control over what I shoot. And after all, the goal is to produce a good reference photo to work from.  Film has changed a bit over the years and there are some great films to work with now. Unless I'm working with a pencil portrait, I seldom use black and white. (Which, incidentally, by the way, is not as readily available as it used to be) Black and white film is becoming more difficult to find, in our area, and the film that has taken  it's place is a color film that can be processed as black and white. The end result is a color similar to the  old-time

brown-tone photos. Color works best for me and I prefer print over slide film (Which also is becoming harder to find). There are several things to consider when buying film; do you want to make prints from your slides, (transparency films require extra equipment to view, but color reproduction is great) or work from photos? Do you want exacting detail or suggest motion? The higher the speed of the film, the grainier the picture. In low-level light, you might need a faster film. The overall speed of film I tend to use is Fuji 200.   A telephoto lens, (135 to 200 ) will allow you to take photos of a  subject that you're interested in, but unable to approach closely. You should be aware that telephoto lenses are heavier (requiring support such as a  tripod) and that they are slower which demand more lighting. Some adjustments will have to be made in accommodating the light situation. A wide angle lens (28mm) is also a great tool to have! Since this can capture a broad image. Just as your eye sees 'peripherally, so does your camera with a wide angle lens.

 Well, which film should you use? Are you taking photos or slides? Are you taking indoor photos or outdoor? If indoor, are you taking them under fluorescent, incandescent, halogen, or tungsten? Each one of these different  lighting will dramatically change the look of your work. Know the difference. If you're not sure  what to get, ask the manager of the photography store. In general, a 160 ASDA Tungsten film is best for general use. 

 1. You won't get good results and you can't get past the judges with blurry photos. Don't trust the steadiness of your hands....use a tripod! 

 2. I prefer using my 35 mm SLR for taking photos and slides since I'm so comfortable with it.  You will most definitely need a close up lens for this type of work. 

 3. Try to eliminate the background as much as possible by filling up your lens with the actual artwork. If this is impossible, have a backdrop cloth up of a solid color such as black. You don't want anything to distract from your painting. 

  4. Most definitely take shots of your work 'as-is'; before framing and matting. You don't want the glare of glass in your photo and you don't want the frame to distract the judges eye from the painting. Experiment with your f-stops and changing your exposure. Keep a written record of what you did on each photo and mark your film accordingly. When you receive your prints back, compare them and decide which one is best. Looking back at your record will help you remember what procedures you took to achieve that effect.

 5. If you are photographing your work outside, do so in an area free from shadows and strong winds! If possible, try not to take your photos in strong like as this will change the quality of your work as well. A strong, but indirect lighting is best for outdoor work. 

 6. I take at least 6 to 8 slides per piece. Just to make sure that I keep a few of the originals on hand ( I send these out for duplications to shows and always keep an original on hand) as well as to try a few different angles. One might be better than another and several shots increase your chances of a good photo or slide. 

6.  Use a gray scale card. This helps check and balance your lighting. If you are unsure of where to get one our how to use it, visit with the local camera dealer. 

 7.  Keep your camera parallel to your artwork and dead center if possible. Lower your tripod to accomplish this. You want to be as dead on as possible to avoid distortion. 

Above all, remember that practicing anything consistently is the key. It will take you some time and some preparation as well as practice to get great reference photos so you'll be going through many rolls of film until you understand how your camera works and how it reacts under certain conditions. Taking the time to learn and do it correctly will save you $$$$ down the road.


February 2/4 2007

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