[clackers]

Yes, family life can be hard. I got home from work today to find my kids have been on eBay all day.

If they're still there tomorrow, I'll lower the price.

Yesterday, I accidentally gave my wife a gluestick instead of her lipstick.

She's still not talking to me.

So, this week I want to mention to beginners how important depicting interaction can be in your photographs. If you take a picture of a child, fine, and picture of her mother, fine, but next level is the mother holding the child, or in my photo below at a Scottish wildlife centre, of an owl and handler (K-S2 and the FA77 Limited).

You can snap an interaction too early - keep the camera up and take more frames until you have the 'Decisive Moment'.

You can also be late and miss the handshake, or the kiss, or whatever - so, as the photographer, immediately apologise, smile, and request that they do it again. The more seconds you let go by, the more likely a refusal.

To finish, there's the story of the ventriloquist performing with his dummy on his lap.

He’s telling a dumb blonde joke when a young platinum-haired beauty jumps to her feet.

“What gives you the right to stereotype blondes that way?” she demands. “What does hair color have to do with my worth as a human being?”

Flustered, the ventriloquist begins to stammer out an apology. "Yes, yes, you're quite right, so ..."

“You keep out of this!” she yells. “I’m talking to that little jerk on your knee."

The rest of the series here: Clackers' Beginners Tips (Collected) - PentaxForums.com

Attached Images

 

[rogerstg]

You can snap an interaction too early - keep the camera up and take more frames until you have the 'Decisive Moment'.

Yes! I've learned that continuous mode is your friend whenever shooting something alive. But first, I needed to unlearn the economy mindset of film.

[clackers]

Yes! I've learned that continuous mode is your friend whenever shooting something alive. But first, I needed to unlearn the economy mindset of film.

For sure. I think shots have to be thought out in advance, so I'm no 'spray and pray' guy. But not having to pay for film development means we don't have to spare the number of frames we take.

Another example - for a portrait, I won't take one frame, I'll take half a dozen in each setup, just slightly rocking back and forth to vary the distance by a few millimeters, because depth of field can be real thin. Since we're not statues, I will move whether I realize it or not, and so does the subject.