Make it! Don’t Take it!

When people find out what I do, they say:  “You take pictures, don’t you?”   And I always reply:  “No.  I don’t take anything!   I MAKE photographs.”

This is an important concept, more than just a play on words.    My photography improved instantly once I adopted the attitude that I was “making” a photograph.   Suddenly, I was more aware of what I was creating.  I instantly began to have more control over the nature and quality of my photographs.   And naturally I began to visualize the final image before I even clicked the shutter.   Now I think about my photos from the very beginning, I ‘feel’ the final image and I naturally learn to do things to alter that image before I even click the shutter.   I pay attention to the Background (which all of you who have studied with me know is The Most Important Element In a Photograph).    Subjects are easy to find, backgrounds are hard to find.   I move my camera position, down or up or left or right, closer or farther away. I change my lens (physically or via zooming in or out).  I add or subtract light, with reflectors or flashes.  I can often move the subject into or out of the light as required.  I have even been know to find a perfect background, then sit and wait for a subject to appear.   All of the things I do before the click of the shutter is to make the finished image more closely comply with my vision of the ‘feeling’ that I want the final image to convey to the viewer.

Nothing is sacred.  Manipulate, Edit, Alter, Change, do whatever you wish in order to help the finished image to convey the emotional feeling you want.

Why stop your “making of the photograph” when then shutter clicks?   Ansel Adams did not!   He was the Master Manipulator.   His dark room skills were perfected and he never stopped learning to manipulate, control and alter, in order to make the final image convey the emotional feeling he wanted.

NEVER let the camera have the last word

As all of you who have taken my workshops or traveled with me on my photo safaris know, I “NEVER let the camera have the last word.”   What I mean by that is this:  the images you get straight from the camera are just ingredients, they are just fast food, they are unfinished as far as I am concerned.    The camera gives you the cake, but the cake needs icing before serving.

I am deeply concerned with Composition, where composition means what visual elements are and are not included within the image, and where within the image the visual elements are located.   For most people, the thought of composition brings to mind studio shooting, products, still lifes, things that you can move around in the scene before you make the photograph.    My response is:   No, No, No, No …. composition is the essence of EVERY image whether table top catalog photography in one extreme to landscape photography at the other.   Composition is controllable both before the shutter is clicked and before the image is printed.

Before and After

As examples, I have two images created on the Amazon river in Brazil.   A Before image and an After image of each.   The Before image is the fast food provided by the camera and the After image is cake complete with icing, after editing and processing, and ready to print.

Example No 1:

BEFORE: straight from the camera

finished image ready for printing

Of course, I did all that I could before clicking the shutter to create the best composition that I could.   Now, I begin cleaning up the image and simplifying the visual elements.   Here is where cropping can have a powerful impact, and this is the point where I do color conversions to fit my vision of what the image should become.   Notice the After image, above, and compare the two images .  Can you feel a shift in the emotional impact of the image (I hope so).   See if you can find all the changes I have made in order to put icing on the cake.

Example No 2:

Before: Fast food from the camera

After: Finished image ready for printing

Clandestine Hip Shot ? What’s that ?

Face of Morocco (final crop)

Adventure photography means more to me than just tracking the beautiful big cats in the African bush, or sloshing through the rainforest of the Amazon in Brazil, or wading waist-deep in the crystal clear salmon rivers of SuperNatural British Columbia to make that perfect image of the bears in the salmon run.   In all of my photo safaris, human culture is incredibly important to me and I try to discover the essential elements that make each culture unique and special.    This means photographing people in their natural environment, doing the things they normally do.

In order to do this, you must minimize your personal impact upon the ongoing activities of the moment — minimize the disturbance or disruption that your presence causes in the situation.  That is where the Clandestine Hip Shot enters the picture.   This is the photographic technique I use when I want to make an unposed, spontaneous photograph with a minimum of disruption in the environment.   In fact, this is one of the primary reasons I designed Mzungu’s Quick Draw Camera Strap.

For example, the dramatic image, above, is of a man in Morocco.   He and I had a chance interaction as we passed one another in one of the crowded, chaotic pathways in the Medina of Marrakesh.    The photograph had to be made instantly.   No opportunity, in the seething mass of human motion for me to stop, set my monopod, compose and make the image.   Fast action was required … right from the hip.   No time to even raise the camera to my eyes.   My camera was set.   I was ready as I walked.   The photo opportunities appear and disappear before your eyes in an instant.    Below is the image as made by the camera (and as those of you who have studied with me know — I never let the camera have the last word).

Face of Morocco (from the camera)

The essence of this image — the emotion of this image — the visual impact of this brief encounter to me was the drama and mystery of the high-contrast light and shadow on this man’s face.   I knew the instant I made the image that final image would be the drama of his face.

Here is another example, also from Marrakesh, but deeper into the labyrinth of tiny serpentine pathways of the Souk.   In here, people are almost shoulder-to-shoulder.   There is often pushing, shoving, bumping, and seldom ever a clean, clear opportunity to make a well composed image.

Vendor in the Souk of Marrakesh (from the camera)

What captured my eye was the captivatingly interesting face of the vendor, but also his continuous use of the Worry Beads in his left hand.    He seemed to be a man at peace amid the human chaos of this Souk.   Notice also the limited space to make a photograph … and absolutely no time whatsoever to set up, look through a camera, compose and make a photograph.  He and I made eye contact in a instant.  I made the photograph.   We nodded and smiled to each other.   He knew I was making a photograph and he assented, perhaps to some extent, because I was able to make his photo without disrupting his comfort and peace.

Notice the distracting clutter of the colorful bowls on the right.   And on the left side of the image, the men’s bodies standing in front of him.  The background (which those of you who have studied with me know that I believe is the single most important part of a fine photograph) near his body was perfect because it seemed to me to set the tone and context of the scene.  Here is the final image as I envisioned it at the time — the man, the mood, the moment.

Vendor in the Souk of Marrakesh (final image)

When I am in such circumstances that I will be employing the technique of the Clandestine Hip Shot, I prepare myself and my camera in advance, in the following way:

1.     My lens selection is a wider angle lens knowing that all I need to do is capture the whole scene because I will be cropping the image during processing.   This where Size Matters!   Cameras that produce small files may limit your ability to produce large prints.   My Canon 5D Mark II with its 22 mpx file size allows me great freedom in cropping and still have a file large enough to make big prints … especially with the use of Genuine Fractals to do the upsampling.

2.     My distance on my lens is pre-set, and I turn off the auto focus feature.   I want no delays in the instant that I need to make the photograph — any delay caused by a searching auto focus system can cause me to lose the moment and thus the opportunity.

3.     My aperture is pre-set for a deep depth of field, which means that I will have made test shots in advance in order to adjust the ISO high enough to give me a hand-holdable shutter speed.   Both of the example images, here, were made with my Canon 5D Mark II set on ISO 6400.   Love this capability.

Well, that’s all folks!  For now.   I wanted to show you that Adventure Photography comes in all forms, including cultural photography of people in their environment.   And I wanted to show you the technique of the Clandestine Hip Shot which is a special feature of my new Quick Draw Camera Strap.

For more information about this amazing camera strap including a video demonstration of the strap itself and a video demonstration of exactly how to perform the Clandestine Hip Shot, just click here: More Info and Demo Videos Here

As always, if you have specific questions, please feel free to contact me personally.

Mzungu

Testimonial

Kenya, South Africa, Namibia, Botswana and Zambia – 2008

My first purchase (besides candy bars) as a child was a Cub Scout camera that cost $6.25 back about 1952 or 53, and I have been buying and using cameras ever since. However, my first photography class wasn’t until March, 2008, when I attended a digital photography seminar in Dallas that Mzungu taught. Since attending that class, and having the good fortune of spending two weeks traveling with Mzungu on our own private bush plane safari through South Africa, Namibia, Botswana, and Zambia, and learning more about photography from him, I think my photography has improved quite a bit. The hardest part has been trying to undo 55 years of picture taking; now I am trying to learn the art of photo making. Thank you Mzungu, my friend, for teaching me.

Life saving leap: Wildebeest over Croc in Mara River, Kenya (click image to enlarge)

I didn’t travel to the Masai Mara with Mzungu, but while flying with him in Africa, he often remarked about the abundance of game in Kenya and how spectacular was the migration of the wildebeest. Luckily, I was able to see about 1000 animals cross the Mara River. Although I didn’t see any crocs actually kill a wildebeest, they don’t become two-thirds of a meter wide by always missing the jumping wildebeests, who were very much aware of their presence. During the migration that I saw, most of the herd came out of the river at a place about 30 meters away, which was blocked from my vision. But a few ran single-file through a natural chute located about 2 meters away from me. My camera was already set for shutter priority at 1/1000th of a second, so when I heard the thundering of a few wildebeest right next to me, I just swung my camera in their direction and tried my hand at capturing one of these magnificent animals. If you look close, you can see drops of water coming off this wildebeest.

Wildebeest emerging from the Mara River, Kenya (click image to enlarge)

Matt Nelson (January, 2009)

Simba Sex

Mating habits of Simba (lion)

From time to time, in my photo safaris in Africa, we are lucky enough to discover lions mating, and this is always a superb photo opportunity as well as a terrific education.   The following photos were made in the Samburu region of Kenya.

The Lioness is the Boss

The lioness seems to control the mating.  When she is ready, she and the male of the Pride remove themselves to a location away from the rest of the Pride.   The mating is a 7 day endurance event.   The mating itself takes place about 360 times over that period … say, maybe every 10 to 20 minutes.   During the mating neither of the two hunt or eat … they mate, then collapse in exhaustion, then mate, then collapse in exhaustion, etc.

Showtime

I'm ready ... Here I come, Big Guy!

Snuggle, snuggle

Mating begins

The earth moves - grand finale

Collapse - renew energy - short nap

Pro Photo Tip.

This Tip is mostly common sense, but you would be totally amazed how many serious, experienced, professional photographers forget to do this …. much to their sorrow after the fact.   In most situations, you may get one chance to do it right!

This situation is what I call a “stake-out”.   We were initially alerted to the presence of these lions by the ground shaking roar emitted at the moment of climax.   Thanks to the experience and talent of our guide (I always work with the finest professional guides I can find in any location for a whole variety of reasons — if you wonder why, email me) we tracked and located this pair of Simba in action.   Here is the key element of the “stake-out”:   You have found the subject and you are waiting for the action.

What this means is that you have time to prepare properly to “make the photograph”.   In reality, the screw-up comes when the photographer is so excited thinking about the upcoming action that he/she forgets to prepare.   Here’s how to prepare, and remember why you are doing these things — You are Making the Photograph, not Taking it:

1.   You have your subject, so the first thing to do is concentrate on the Most Important element in your image — The Background.   Find the best angle and view in order to increase the drama, eliminate visual distractions and emphasize the subject.  Change your position and camera angle until you get it right.

2.   Select your lens or focal length (on a zoom) to exclude or include the elements you want in the image.

3.   Select your aperture to control the depth of field that is right.

4.   Make a test image and make sure the shutter speed is what you want, for freeze action or blur.   Your choices will be influenced by whether you are on tripod or hand held.

5.   Adjust your ISO with the aperture and shutter speed in mind, PLUS, think about the quality of the file you will be producing.   Lower ISO’s tend to produce the better quality and higher ISO’s  tend to produce various kinds of visual noise.

6.   Histogram time — given the Exposure you have selected (ISO, aperture, and shutter speed) make sure you are metering the light right.  This means are you placing the image properly (properly means where YOU want it, not where the camera automatically wants it) in the histogram?   Special attention to endpoints (left and right).   Off the histogram to the left means blocked up shadows, and off the right means blown out whites.   Make Exposure Compensation adjustments.

7.   Another test image, and consider the White Balance.   Set it, or at least know how you will be adjusting it in post processing.

Now you are set and ready.   In the field, it is in “Stake-outs” where you are likely to have the opportunity to do all these things.    But remember, every image you make may be a true “money-shot”, The shot of your lifetime.   Would it not be a shame to produce an average and ordinary image when you had the time to create something really special and didn’t?

Comments always appreciated.

I am a photographer, not a biologist, so if you find errors in my description of the Simba mating process, or if you care to expand upon my description with your own stories, or comments regarding the preparation please do so below.   Tell me what you think.

Mzungu

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What Gear to Take with me?

Specific answers to specific questions:

OK, this is a question I get very frequently.   And the answer, of course, depends upon the purpose of your safari and the destination.   If you will just post your questions to me specifically by entering a comment below, it will be my pleasure to answer each one of you.

Yukon Gold Miner’s Outfit, circa 1897

(source: The Hudson Bay Company)

Klondike Gold Rush (circa 1897) CLICK ON PHOTO FOR MORE

Click on photo, above,  for more info & photos of the Klondike Gold Rush

In the meantime, take a gander at this list of Gear for a Gold Prospector in the Yukon.

Gold Miners Outfit.PDF

In the PDF file, above, you can review in detail what The Hudson Bay Company recommended for one man for one year in the Yukon.   Such things as:  1 pair moleskin pants, 3 pair moccasins, 20 pounds of nails, 20 pounds of Oakum (what is that?), one dozen handkerchiefs, colored (wonder why colored?) … and so on … and can you imagine?   NO PHOTO GEAR!  No Gortex!  Yikes!  Those guys were really tough.

This list was given to me by one of my very dear friends in British Columbia, Canada — Lorne Briggs (if you wish to share stories about Canada with Lorne you may reach him at this [email]).   Lorne is a native Canadian with tons of experience out in the “Bush”, a man with a wealth of knowledge and experience, and an all-round fine person.  He and I are neighbors in SuperNatural British Columbia.

View this document on Scribd

Don’t miss your chance to Ask Mzungu those Photo Gear Questions, enter your questions in the Comment, below.

Happy Holidays

Mzungu

Subscribe FREE to my Adventure Photo Journal here:     [SUBSCRIBE]

Love this Giraffe!

Photo: (c) 2008 Joani White, Kenya

Thank you, Joani White!

Good job.  Good photograph.

Let me tell you why I think this is such a fine photograph.

1.   It follows Mzungu’s Big Five Rules for creating great photographs:  One – Background emphasises the subject and produces no visual competition; Two – The Subject is the only star on the stage; Three – the Edges of the image are clean and offer no visual distractions; Four – the Visual Line, provided by the body of the giraffe itself creates a lovely and effective visual line leading right to the head; and Five – the Simplicity of the image is pure and beautiful.

2.   The cropping of the original image emphasizes a harmonious visual balance.

3.   The image has “legs to stand on”, meaning that the shape and darkness (‘value’ to an artist) of the giraffe’s body in addition to the grass, serves to visually anchor the image.

4.   The choice of monochromatic, as opposed to color, serves to emphasize the balance, shape, texture and pattern of the image.

5.   The camera angle creates a more unique view of a giraffe than the typical image — most of which show the front or side views of the subject — which serves to make this image more interesting.

Joani was one of my ‘explorers’ in “The Great Migration”, a photo safari to Kenya in October, 2008

Mzungu
www.rogermoorephotography.com

2009 Lecture: Wild Things – Images from Africa

I am available for lectures to your organization.  Here is an example.

Lecture to the Adventurers Club of Chicago

Roger “Mzungu” Moore, adventurer and photographer, from Dallas, Texas presented his program “Wild Things: Images from Africa” on Friday, May 25th.    Mzungu is a member of the Adventurers Club as well as the Explorers Club.   He is well known forgoing off the beaten path and traveling deep into hostile environments.   Each year he leads several expeditions including recent travels to Africa, the upper Amazon and other exciting places.  In this program, Roger shared his breathtaking photo safari in Kenya which included the native people, the wildlife and the country.   Learn more about Roger, his work and and his upcoming expeditions at: www.Rogermoorephotography.com

Adventure Club Invitation