Auto ISO…Why?

Quite recently I was asked whether auto ISO was something I used regularly. And the simple answer is…hardly ever. In fact I really can’t remember the last time I did. So why? Well I guess the the best way I can explain my reasoning is to say that I mainly shoot in Manual Mode.

Because I try to envisage the image that I want before I depress the shutter I dial-in the settings that I need before I take the shot. As photographers we’re all working with a blank canvas and it’s what we want to eventually ‘paint’ that should determine what our settings are…not the other way round. I mean that we should not allow the camera to dictate what the final image will look like. It might be that depth of field is our number one priority or it might be shutter speed etc. but if we rely solely on the camera to make our choices then we relegate ourselves to ‘button pushers’. So let’s suppose I’m shooting in manual mode and I’ve already envisioned the image I want of a bird taking off into the wind. Shutter speed is important because I want to freeze wing movement but, depending on the size of the bird I may not need a very fast speed…especially if it’s a raptor. Depth of field is important if I want front-to-back clarity of the bird, say from wing tip to wing tip. But I’ve already metered for the image I want and the ISO is already determined. So if I need to change any of the variables because of a slight change in light then it’s simply a matter of quickly changing one or more of the settings without taking the my eye from the viewfinder (because I’m totally familiar with the ergonomics of the camera). Therefore, I still maintain the same exposure that I metered for in the first place. If I need to change the shutter speed then I know that I have to change the aperture to maintain the same exposure – equal clicks in opposite directions. If I need the image brightening then I can also change the ISO by equally clicking in the same direction. The exposure will be maintained.

So I saw a presentation given by a fellow photographer who was championing Auto ISO in Manual mode. His reasoning was based on shooting a dappled bird moving in and out of dappled shade. Now you might think that by setting auto ISO any light change is compensated for as the bird moves too and fro. And, sure, it might well do but I have to ask the question, ‘Why would you want to do such a thing?’. This seems crazy to me: either shoot the bird in the light or shoot the bird in the dappled shade…don’t try to do both. To me it’s pointless. I’d rather take a lunch break and wait for the conditions and light that I want because I want total control of the canvas, the brushes and the paints. I’m not saying that you shouldn’t shoot in ‘auto anything’…it’s your choice. But if you choose to shoot in manual then why shoot auto ISO? It doesn’t make sense to me. Take control of everything you can. As photographers we have enough trouble waiting for the light to be as we want it, so why leave ISO in the lap of the gods? Paint the picture you want not what the camera wants.

Lock-down Ramblings & Unnecessary Mind Games.

It’s been quite a while since we started lock-down and for many photographers it’s been a bit of mixed bag of frustration: some made the most of things and started taking photographs on their daily walk whilst others, by the very nature of their chosen genre (studio/wedding/industrial etc), experimented with new ideas. A lot of studio pros use tethering but, of course, that’s not possible outdoors on your walk. So for many it’s back to hand-held work ‘in the field’. And the amount of macro photography that’s hit social media over these past few months is quite staggering. There seems lots to do even during this crisis. I’ve been one of the lucky ones because a lot of my work continues to be published albeit mainly on social media and commercial platforms: the stock-shots are already in my portfolio. Because I’ve contributed quite a lot of ‘stock’ over the last year or so it’s still being used – there’s a bit of hidden advice here: if you get into stock work then make sure that your portfolio is extensive. Same goes for commissions: keep adding to your portfolio and your clients have lots to choose from during lean times like these. And to be frank (and I can assure you that I’m not blowing my own trumpet here) I’ve lost count of the work I’ve had published over the last few months – never-mind the last year. And that’s because I’ve always made sure that I keep my submissions and portfolios full. If I didn’t I know that my clients would look elsewhere. What they want is a stock of images that they can call on at any time. So for me it works – to everyone’s advantage: I’m happy and so are they. But there’s one lesson I learned very early on: if you can’t get into the mind-set of your client then don’t even try. It’ll drive you to distraction. To be sure, if they know exactly what they want then they’ll tell you and they’ll expect matching results. A fellow ‘tog who is part of a members-only photographers’ social media group often asks advice about the shots he’s taken for an agricultural and print based media outlet – ‘Is there any way I could have improved on this shot and made it better for the client?. How could I have used lighting better etc etc?’ And yes, quite a few members offer good constructive critical advice. Brilliant! However, this photographer has regular work coming in, gets paid for it and is often sent on ‘shoots’. The cherry on all this is that he can now call himself a ‘published pro photographer’. So he doesn’t need to get ‘inside the head’ of his client: they obviously like what he does and he does what they want. Sometimes it’s best not to overthink things. If your work gets published consistently then you don’t need to do anything apart from a few tweaks perhaps. I’m just a guilty as the next person and it takes a great deal of resilience not to over-think things. If the client likes what you do then change nothing. They are probably not photographers and therefore don’t need to think like one. Unfortunately this can sometimes be very frustrating for us. To illustrate this I’ll relate the story of a ‘festival’ shoot I did last year. I had to cover quite a lot of ground in photographic terms capturing the essence of the event and the people who attended. The actual photography went well and most folk were very receptive to me being there. I think I ended up with over 1,000 shots during the three day event…a good proportion of which involving getting people to sign model-release forms. I was fortunate to have my wife with me who did a sterling job getting on-the-hoof admin completed. At the end of each day it was back home to sort through and process the images ready for sending to the client. And that’s where the ‘crunch’ lies. Consider this for a moment: Lets suppose I’d dumped over 25% of the images, leaving approx 700 to be processed. Suppose that each image takes on average 5 mins to process (and that’s not long at all). Thus, total processing time is in excess of 58 hours! You’ve got a deadline to meet, ‘Can you send them to me tomorrow please? and copies to so-and-so…? Thanks.’ The client is only interested in the finished product not the blood sweat and tears you went through to get to there. Quite right too! So I suggest that if you haven’t already then start now and get your work-flow organised. Know your preferred software like the back of your hand. And make it work for you. This is no time for experimenting or trying things for the first time. And if you don’t need to then don’t try to get inside mind of your client. It’s a bit like over processing an image…don’t do it! You’ll spend too much time worrying whether it’s good enough. Someone once told me that the mark of a great painter is that they know when to stop. Something we all need to remember I think. Stay safe my friends.