Putting Myself Out There: Photography
I was having a conversation about photography over email with a friend recently, and I got pumped up telling him how much I enjoy taking photographs. Then I thought, You know, this is silly. I should just take a photography class already. I had always loved photography; even as a child, I took photos I loved and thought maybe were actually good, though I rarely shared them with anyone. I had always wanted to get better at photography. But it took meeting my husband, taking some photos with his nicer cameras, and having him go, “Wow, you really have an eye for this! I wouldn’t have seen that shot!” for me to believe maybe I could and should pursue it more. And it took the conversation with my friend for me to nudge myself into taking greater action. I’m done applying for grad school, and my work schedule is at a less hectic time of year, so I really had no excuse not to move forward.
Sometimes, it feels a bit embarrassing to focus on something that really interests you when you aren’t sure how good at it you’ll be. But that embarrassment is rooted in the vulnerability of passion, and letting that embarrassment be a reason not to do/learn/try something is a waste of life’s offerings. Nervous as it made me, I signed up for the basic Digital SLR 1 class, and as anxious as I was going in, I took the first one last week. I had actually been really anxious about not having my photography manual (it’s long gone . . . somewhere) for the class, and when I realized I had misunderstood the requested memory drive and not brought the right thing, as we drove over to the class, I felt positively panicky. My husband and brother both teased me (rather gently, actually) about how they were just absolutely sure the teacher was going to kick me out of the class for not having the manual and the right drive. Cerebrally, I knew they were right that it wasn’t going to be a big deal, but I had to force myself to go into the class and just see how it went. Of course, it turned out we needed neither for the first class. (And I’ve already got the right drive—loaded with my photos—in my backpack, waiting for the next class on Thursday night.)
Now I have to share my photos in a public forum. Granted, it’s a public forum of twelve students (well, and one excellent photographer who’s our teacher), but still, it makes me nervous all over again. “But you share photos on Flickr and on your blogs,” Dan said—and it’s true. But I’m not sitting there while people look at those photos and judge them. (And, honestly, truthful blogging can be hard along the same lines sometimes.) Why does it matter what judgment people place on them? And how can I get any better unless people offer some critiques? I know, I know. But still—granting people the right to judge something I’m producing, and right in front of me, brings out the perfectionist side of me that I work so hard to release these days.
Anyway, our first homework was quite simple: to take two sets of four photos that use different settings of white balance to begin developing an understanding of how best to utilize them. The teacher requested that we do this activity using photos with a single type of light source. White balance is, as the name implies, getting the photo color correct so that white = true white. The human eye has the amazing capability of adjusting to different lighting so that when we walk from a yellow-toned lit room to the blue-toned outside we adjust to the color variances created by the lighting conditions very easily. However, cameras are not able to do this nearly as well as human beings can; thus, many photos we take have distracting or inauthentic tinges of color to them that we may not have noted with our eyes when we took the photos. There is an ‘auto’ white balance setting on DSLR cameras, but the auto setting may not provide as correct or desired an adjustment as a photographer can. By adjusting the white balance on a digital SLR camera, a photographer can adjust the camera for the lighting conditions in fairly specific ways. White balance settings and the adjustments they provide are based on temperature ranges for color. Warmer colors, such as the light from tungsten lightbulbs, can get cooled off by the use of a setting that adds bluer tinges to photos. Photos taken outdoors get a golden tinge added to them. Etc. These settings allow the camera to provide true white (or another shade, per the photographer’s desire).
Below are what I consider the two most ‘balanced’ photos from each of my sets.

The first set of photos of these flowers was taken adjacent to Piedmont Park on a cloudy morning. (See larger versions of photos at the Flickr links.) Obviously, for this set, the light source was the sun—which, when refracted through the atmosphere during the daytime, provides a cool blue tone to photographs. I actually think the camera’s automatic white balance setting worked the best for this set, though I might have liked the ‘cloudy’ setting if it hadn’t been slightly out of focus. As blue as it turned the photo, my favorite of these is the one taken on the ‘tungsten’ setting. Working in an office with no windows, I think I am somewhat starved for the cool tones of outdoor light.

The second set of photos of the cookies & milk I took indoors using an external flash and on-camera flash as my lighting. With this set, I preferred the slightly warmed look of the flash white balance setting. In this set of photos, on the Flickr page, you can see how extremely wrong the tungsten setting can be in certain lighting. It was fun to set up the flash, a white board, and a reflector to take some slightly-more-professional-style food shots for this set.
Once I had taken my sets (I took others but decided to use these), Dan and I played around a bit in Photoshop to sharpen the images and bring up the contrast a bit on some of them. Dan was so excited to be showing me things in Photoshop that he started to overwhelm me and had to back off a bit. He could geek out about photography for hours at a time (if not days), so he’s pretty thrilled I’m showing an interest in the more technical side of photography now. I can’t say the pure technical side is what drives me, but learning to utilize it is important. Learning at all—pushing myself to move forward bit by bit—is important in general.



