Despite the progress in the field of automation of photography, cameras still require people who would suggest them to take pictures of the object and pressed the button. The camera is just a tool, and its task, first of all, is not to interfere with your work. The less time you spend fiddling with the equipment, the more time you will have to shoot directly.
In order to start learning photography, you will need only the simplest camera. Study it perfectly, every nuance, all the strengths and weaknesses of this particular model.You should be able to handle your equipment almost blindly; know when you can safely rely on automation, and when it is worth interfering with; know in what situations the exposure meter is wrong and how to deal with it; know how to use autofocus and white balance in difficult and unusual conditions. Don’t be lazy to practice. Once you have mastered the camera, you can forget about it. It will become an extension of your thought and stop getting in the way.
Ability to see
We get so used to the world we live in that we stop noticing its beauty. We take it for granted, as a matter of course. People are too lazy to interrupt their meal and turn their heads to watch the sunset. Eka nevidal-sunset! It happens every day! And when they see a photo of that sunset some time later, they exclaim: “What a beauty! Is it photoshop? Are there such colors in nature?» Are. There are also others that are not like this. You just need to be able to be in the right place at the right time. The more conscientiously you search for subjects for shooting, the more photographic opportunities open up to you. Search everywhere. Even an old Shoe can be photogenic.
Kitten in a Shoe
Visiting beautiful and unusual places is not necessary, but it is very useful, as it spurs creative thought and awakens a sense of beauty from sleep. Do not let this feeling sleep, and you will find an abyss of photographic subjects in any setting.
However, it is not enough for a photographer to simply see beauty and be able to admire it – he must be able to see “photographically”, being aware of how the scene he likes will be seen and interpreted by the camera. Like any artist, he must know about the features of his tools, and, most importantly, about the restrictions they impose on him. Some things can’t be photographed, others can, but the result will disappoint you, because the camera doesn’t see the world the way we see it. Over time, you will learn to accurately distinguish between situations when shooting is possible, when it is not possible at all, and when it is possible with certain tricks. If the weather, lighting, or other factors do not allow you to take a picture of the scene you like, think about what you can do about it. Sometimes a flash or a primitive reflector can solve the problem. Sometimes you need to be a little patient, waiting for the sun to come out from behind a cloud, or for tourists to stop crowding in front of an old building. Sometimes you should return at a different time of day or even at a different time of year. If you are not currently working on a specific order, do not rush. Always try to imagine how and when you can capture the object in the most expressive way.
Don’t force yourself to take off beautiful things when they don’t have a view. Such images will have only Protocol value. Worse, ugly photos of beautiful things make you unwittingly disappointed in both the subject and your own photographic abilities. Bruce Barnbaum writes that good memories are better than bad photos. When I travel with non-photographers, I am regularly asked to snap something just for memory. What are you going to do here? I usually try to avoid trying to inculcate bad habits, although I admit there are moments that are really worth capturing, even if not in the most artistic way.