Travel to the surprising world
Fragment from the book...

    The main thing in this book - not only the description of photographic technics. On this theme there is a set of managements and to repeat them in a detail I do not see sense. My problem - to share own experience. Experience of the person which travelled with the camera more than 20 years. Travel with the camera have given to me the happiest minutes, hours, days, years of a life. Have changed my sight at the world. Have opened many, unprecedented before the party and a side of pleasure of a life, high-grade terrestrial existence.

   It would be desirable to attach and you to this pleasure. To interesting, fascinating employment!
   J.Tosik
    1989

Precepts of the photographer travelling in "jungle" of leaves and grasses.

   Present and all a growing trouble of a modern life — haste. In a pursuit for too many we lose even that we have, is more correct — could have, if have learnt to appreciate that actually is valuable.

   There is nothing tsennee the life, its each instant — so will make this instant really valuable at least that treasured day when we left at last in the travel with the camera!

   Having appeared in "jungle", look round easy, understand, that you already here, to hurry there is no place, that is why...

   Try to imagine, and is more correct, not to present at all, and to realise, that you never here, in these thickets, there was also nothing of it did not see. Yes after all so it also is! A usual sight — a sight superficial, it is possible to tell: the formal. To look it it is far not always means to see. More and more look around. Unless that bush, for example, does not remind Mamontovo a tree about which you once read? Forget, that you are formal now almost in one growth with this bush — after all all rather. You have cameras and lengthening rings which, "approaching" that you see, do the world around big, and you, hence, small. Adjust on this new scale, be not afraid to "belittle" itself, and you will see: nearby really huge Mamontove a tree, and at all any not a bush... Sit down or kneel is at all humiliation: to kneel before the eternal nature. Look attentively under feet. After all it not the grass at all, is high tropical wood, never earlier vidannyj you, — unless in imaginations and in a dream. You see, what different trees in this wood: smooth-bore, direct, with sprawling long and narrow leaves; with fancifully bent, as if the broken naked trunks, with large spacious leaves — carved, spreading, mnogolopastnymi... Here with needle, and with the lacy...

   But what is it? something Creeps (or someone?) slowly, as if the tank, being torn through perepletene stalks and trunks. As if metal, covered with stamping, geometrically correct notches a back... Really it only a bug? Well, and here that — varnished, bright red, with the coal round stains symmetrized with white circles of an eye on a black flat head, with short, mnogochlenistymi, very mobile short moustaches?.

   Moves on sheet, quickly touching thin and too the varnished legs... Really it is a ladybird? Has crept up to a sheet edge, has suddenly pulled down half-and-half a shell nadkrylev on a round back — in solar beams they it is scarlet appear through, well simply ruby! — and from under them immediately vyprostalis the most thin, slightly brown transparent wings and... Only it also saw. Has departed!

   And it that? A blue, silky miracle... Turquoise, a heavenly colouring wings with silvery outflow, along the edges — the whitest silk fringe. And a little body, a little body... In the most gentle silver down, legs too are accurately downy... But a head! Perhaps, the most touching is a head. The big black eyes look etak fondly and is mild, the head too is covered by silky hairs (reminds squirrel), thin hobotok will curtail spiralkoj, and two longest moustaches, stretched every which way, are ornamented as if militian staffs — a strip black, a strip white, — on tips of moustaches black roundish thickenings. That is why day butterflies name "bulavousymi": short moustaches on the ends really remind an ancient fighting shell — a mace... And this charming being having a rest on green sheet, — habitual “a blue moth”, the small butterfly-golubjanka?

   No, it as if a being of the strange, fantastic world, touching, defenceless, the such angel... Certainly, if you go deep into and will take an interest in a life, customs, the present and the past of this harmless creation learn, that though the present of really adequately example and imitation, from the point of view of adherents of vegetarian morals, — the butterfly-golubjanka harms to nobody, diligently and diligently pollinates flowers, — but here the past at some breeds golubjanok absolutely another, absolutely-absolutely another: their caterpillars — terrible predators and sometimes even devour each other... However, here again do not hurry up with conclusions. In the nature other measures of morals. From the point of view of evolution, that is perfection and natural selection, murder sometimes not only not guilty, and, on the contrary, is honourable, it in any sense even "debt" of a predator... Ah, uvlekshis reflexions, we have passed the moment approaching for a photo... Careless movement — and the butterfly has flown away! What a pity...

   But be not upset. Much still here such, that is worthy. The main thing, that we, apparently, have started to carry out the two first precepts. And now...

   This precept suits photographing of any objects — and people too, — its diligent and skilful performance just and does a photo not by craft, and — art.

   Well, what here to tell, how to explain more shortly this rule, how to share the experience in this respect?

   Pay attention: after all any object during the same moment of time can be photographed — theoretically — in millions variants. From any party — from above, from below, on the right, at the left, in front, behind. And all it will be pictures of the same object during the same moment of time. Also there will be they nevertheless absolutely different. I think, it is clear.

   But after all at all thus you have, quite defined, to any degree a developed sight at this object, isn't that so? Not casually it wanted to you to photograph it. Means, it has interested you in something. Than?

   The problem also consists in that it to understand. Or at least to feel. And immediately to find it is unique a correct foreshortening — that point of shooting, about what object on a picture will look it most advantageous, most according to that you feel and wish to embody on a picture — for yourself (for memory) and for others (to share). And while you have found the necessary point, and in the view-finder have seen that has interested you and has excited, that is pleasant to you, — here and it is necessary to press shutter descent (preliminary having defined and having put, of course, correct endurance and a diaphragm).

   Clearly, I think what to find this is unique the necessary point from which the shot turns out the most expressive (and sharp, the difficult is final). In a finding of a point and in moment definition when it is necessary to press shutter descent, and ALL art of photographing, short of, of course, technical aspect, that certainly consists.

   In it is in a finding of the necessary point and definition of the necessary moment — the main consists. In it is instead of in technical cold researches, not in uvenchivanii itself the up-to-date equipment (switching your attention from object on itself), scrupulous following to different rules, manuals and receptions. The last is necessary, of course, even it is necessary, but it — only means for the sake of the purpose — fast, sometimes directly instant finding of a point and the moment.

   Certainly, also sharpness prompting (a "pendulum" or "plug" method), definition of a correct exposition here enters (I still will speak about it later, in the head “Technics of shooting” — if want, glance there now), installation of the necessary diaphragm (necessary depth of sharpness), hardness of hands (that the shot has not been greased), and then and subsequent technically correct display of a film. But it it is technics. Art is a definition of a point and the moment. Well, maybe, also some deliberate infringement of technical rules, however about it too then.

   How to find a treasured point and the necessary moment? To explain it once and for all it is impossible. How much objects, circumstances, your sensations — are so much and unknown persons in the equation necessary to you. Yes after all to say, that treasured this point is unique and unique — too incorrectly.

   The same object, especially if it live, it is possible to photograph from the several such, successfully found points, and each picture is in own way interesting. Here there is one more rule with which I will not allocate in a precept, and will simply tell: if you have found something really noteworthy — do not regret a film. Better one present shot, than hundreds malovyrazitelnyh. But from here just also follows: it is better to spend one hundred shots for good object — in search of that point and that moment, — than on one shot on one hundred the objects which have been removed hastily, anyhow. As well as in everything, solves here quality, instead of quantity, but in this case quality it is got through quantity. Quality of one shot — through quantity of many finished shooting...

   Yes, it really paradox. After all at first sight it seems, that it is necessary to search carefully for this unique shot, in every possible way to prepare for it — changing a foreshortening in search of "point", waiting for "moment"... And only "having caught" it in the view-finder — to press shutter descent. That is, apparently, it is necessary to protect just a film, to spend it only for that, unique shot... But that's just the point, that you never can be up to the end assured, that the "caught" shot — that. It will be found out only after... So, having found one "that", search immediately for another... Change also an exposition — you after all and from it can be mistaken, and about an error learn only then...

   Here it also is, perhaps, main secret of an art photo: search for that, unique shot, but seconds do not stop on the reached! Search not getting tired!

   That is, as well as in any another matter: balancing between haste, superficiality, on the one hand, and "cycling", uncertainty in, with another. Having found "point", a foreshortening, the moment, you should be assured, that, having pressed shutter descent, will make that shot. But, hardly having made it, you should search immediately again...

   Only floating, it is possible to learn to float! Be not afraid of the failures, each present failure — not easy, not through passage, namely present when you tried, and here it has not turned out, — each such "deserved" failure approaches your deserved and indispensable good luck. Dare safely!

   Having met, for example, the beautiful, rare butterfly, "click" it just once simply so, hastily, has not departed yet — just in case! — but then start to search, create. Sideways, in front, from below, from above, try to steal up to it, looking in the view-finder, — and you will see suddenly, that here it, that successful shot which really is pleasant to you with which heart because it just passes your sensation, your feeling of great harmony of the world, which echo has stood and is — beauty. Immediately press descent!

   By the way, here, as well as always, not be in a captivity predvzjatostej. Why this butterfly needs to be removed from above with the opened wings? And in front, it is face-to-face — so that she as though "looked" in an objective, and wings would look as a plane plane? Or, for example, sideways, from below... Why also is not present, if it is pleasant to you if it is interesting? And the bug after all completely not necessarily should look a bug... Why "not make" its such armour monster?

   And a spider... Why not to present it as "Martian" from G.Wells's fantastic novel? Or as the "fisher" pulling the network-web...

   The dandelion can look a dandelion, a habitual lovely flower, what millions, and can — a such torch if to remove it sideways, against the sun, on a black background... The Head of a dragonfly become exact can a head of the cosmonaut in a helmet with aerials-moustaches, or "portrait" such artful, artful, as if grinning, east despot, or "portrait" of a monkey...

   More shortly — give open space of your imagination. Search! Do not regret a film if she, of course, at you is. And certainly, each time do conclusions of failures, whenever possible, not to repeat them. Try to understand and the good luck reason. And never, under no circumstances do not lose hope that good luck will be indispensable. However at all thus...

   Well, here, I hope, clearly. In the further precepts you are waited by a surprise for now it is necessary to acquire this:

  “Hard in uchene-was easy in fight!” Technical ignorance should not stir to realisation of your art plans. It is an axiom. Any, even the most successful search of a point and the moment will not bring success if you could not define correctly endurance and a diaphragm, to guide at sharpness, and then to save a film and correctly to show it. It is excessive to be zealous in preparation and theoretical knowledge it is not necessary, but to pass this course it is absolutely necessary.

   I think, here it is not necessary to explain anything any more, yes after all and in the book of this there are technical councils, and still there is a set of other books on this theme. And consequently we pass to the following precept — not contradicting, and supplementing this.

   Any rules vremenny. Today they one, tomorrow others. There are, of course, objective laws, but nobody has the right to apply for absolute knowledge of objective laws. Opening is always an exit “for rules”, infringement of known borders.

   The world is objective, but its knowledge is always subjective, in the same subject we see a miscellaneous — and each of us, and ourselves during the different periods of our life. All here operates: both mood at present, and previous experience, and an eternal human manner to give out wished for the valid. It is not necessary to be frightened, if settled, habitual you suddenly will see in a new fashion, unusually. It is necessary to rejoice. Suddenly during this moment you have faced law action about which does not suspect while anybody but which, nevertheless, exists and operates! Be not afraid: it also is search.

   It is final, important to understand: to break rules it is possible, and sometimes it is necessary not because you do not know them namely because know. Any area of art deals at first with feelings of the person and only then with reason. Here also give — though here, though in a photo! — will to the feelings.

   If excites, operates on emotion, means, here something is. Then will understand, what exactly, and now — press descent, remove, catch the moment!

   Not always correctly that is considered correct.

   The same object, in the same foreshortening, removed during the same moment, can be on a picture a miscellaneous — depending on with what endurance and a diaphragm you remove it. Here — the same, that was already spoken: removed from normal, correct endurance the butterfly can be simple the butterfly, and it is no more. And here removed, let us assume, with double - fourfold perederzhkoj, moreover with the increased aperture of a diaphragm it can already appear as though and not the butterfly at all, and a mysterious being with a head of the butterfly, but with dim light instead of wings. The caterpillar which has been removed, on the contrary, with nedoderzhkoj, can appear a gloomy prehistoric pangolin. And "portrait" of a dragonfly about which I already spoke, only then will appear unrecognizable "portrait" and not dragonflies at all, and artful, artful, as if grinning monster, when you intentionally increase a diaphragm aperture (simultaneously reducing endurance) as much as possible to reduce depth of sharpness. Dew drops on a grass, removed deliberately with big nedoderzhkoj, take a form of a star galaxy, and removed with perederzhkoj a web against the sun — iridescent light... The Most interesting, that in one of these cases is not present a juggling, a lie: simply other sight at the same subject. After all in the world all rather! That is why...

   I think, here all is clear. Too much in a life it is necessary us to do such, that any pleasure does not deliver. So if we have taken a great interest in something if it became suddenly interesting to us... Certainly, then road each minute. And the photo than is still good? She allows to prolong this happy minute, to embody an instant. And, looking then on a picture, we can — let though in imagination is an instant to return.

   So, six main precepts. If we have seized them — all world before us. And the world of grassy "jungle" — too.

   So, we already spoke about equipment, photoaccessories, have tried to decipher some photographic concepts and terms. We even were going to and left in "jungle", having made in them the first steps... We have met and live "objects" of our hunting...

   And now it is a little about the hunting, that is about shooting.

   How correctly to define it? You already know, that the main task — to find a correct parity between endurance (that is speed of opening-closing of a shutter) and a diaphragm. Both that, and another is interconnected, but definition of correct endurance depends also on sensitivity of a film. The above sensitivity, the is less the quantity of light necessary for fixing of the image on a film which then will need to be shown correctly only.

   Until recently sensitivity of photographic materials was measured in our country on system of GOST which differed from the international standards. In 1987 new GOST which completely corresponds to American standard ISO is entered. Sensitivity of films of German manufacture (Germany and GDR) is measured on system of DYNES. On packing of domestic films three figures-gost, DYNES and the EXPERT, — designating the same sensitivity in different units of measure, and on packing foreign — as a rule, two were usually written.

   So, a problem: according to sensitivity of a film to define that quantity of light which is necessary in the given conditions of light exposure of removed object for reception of a good picture.

   This necessary quantity of light also defines the photo-electric device which is called eksponometr. The mobile arrow (either shone points, or the shined figures in a window) eksponometra shows degree of light exposure of object, but you should choose in each case a parity between endurance and a diaphragm for the more a diaphragm aperture, the there should be an endurance under the same conditions of light exposure less.

   Thus, the problem with four variables — sensitivity of a film, degree of light exposure of object, endurance and a diaphragm — with the help eksponometra is reduced to a problem with two variables: endurance and a diaphragm.

   From the previous descriptions, I think, to you is clear, in what cases high speed of operation (short endurance) and in what it is possible to be limited to less high is absolutely necessary; when it is necessary as much as possible diafragmirovat an objective (to achieve the maximum depth of sharpness) and when it is less.

   In more or less usual conditions of light exposure eksponometr always gives you some variants of a parity of endurance and a diaphragm — on a choice.

   Example. At sensitivity of a colour reversible film in old 45 units of GOST (it there correspond 50 units of the EXPERT or 18/10 DYNES) in the summer, in a clear sunny day, leaving on hunting, you are going to — to begin with — to photograph a glade general view in which "jungle" you wish to travel.

   Different eksponometry demand different actions for exposition definition that is in detail described in passports-instructions. So, you direct a window eksponometra on object shootings (glade), define — under the instruction — an exposition and receive such variants of parities for the given conditions of light exposure:

   Endurance 1/500 seconds-diaphragms 4 "1/250" "5,6" 1/125 ”"8 1/60> ”11> 1/30>” 16

   How to arrive, what variant to choose?

   Let's argue. It is final, bad, if the image is smeared because of trembling of your hands, therefore it is not necessary to choose the bottom variant of 1/30 seconds. On the other hand, we are interested in enough big depth of sharpness, we would like, that all details of a glade were in focus, both near blades, and distant, so, the more diafragmirovat an objective, the better... However, the glade in itself is motionless, unless the wind slightly moves tops of grasses and flowers yes the flying butterfly will fly... The Flying butterfly is not now for us important "object", from apart it is very small, therefore we can not take it into consideration, but there is a grass movement under a wind... If we choose the top variant with speed limit of a shutter 1/500 the diaphragm 4 gives nevertheless too big working aperture of an objective, and depth of sharpness will be, perhaps, insufficient: the glade part will appear unsharp... It would be desirable, of course, as much as possible zadiafragmirovat an objective. Well, at least to 8. What endurance corresponds to a diaphragm 8? 1/125. Whether such speed of a shutter is sufficient? To exclude razmazannost because of trembling of hands — it is sufficient. And here kolyhanie grasses under a wind... Looking what wind... If it is rather strong, it is necessary to take nevertheless 1/2 50... The Diaphragm 5,6 corresponding to this endurance, in modern objectives gives quite comprehensible depth of sharpness (from 5 to 20, or from 10 indefinitely)... So, or 1/125 — 8, or 1/250 — 5,6.

   But the resulted example — from the elementary. The summer, the sun, a film sensitive enough, increases big is not required — conditions that is called, ideal.

   Well, and if, let us assume, a film of smaller sensitivity — 32 units of GOST (ЦО-32), and besides the sun through a smoke or is at all cloudy, and the glade is to be photographed nevertheless? We will admit, we receive a set of variants the such:

1/500-1.6 1/250 — 2

1/125 — 2,8 1/60 — 4 1/30 — 5,6

   What to do? Probably, your objective in general has the maximum aperture (svetosilu) 2,8 so 1/125 becomes for you the top limit... Yes after all depth of sharpness and at an aperture even 2,8 is very insignificant — so the glade part all the same will be unsharp... Here at a strong wind we already cannot receive enough a sharp picture at all and if the wind is not present, that bolshee, that it is possible to make, — to remove with endurance in 1/30, trying as it is possible to hold more firmly the camera in hands, or to reconcile to smaller depth of sharpness and to choose a variant 1/60—4.

   But after all and it is far not the most difficult variant. A landscape, a glade, even the person if it sits not moving, it is possible to remove and with longer endurance, than 1/30 seconds if to rest elbows against something motionless or to put the camera on a stone, on a laying tree trunk, and to photograph by means of a rope. The same if we carry with ourselves a portable support. In that case it is possible to remove motionless objects under bad conditions of light exposure...

   However all repeatedly becomes complicated, if we pass at last to to what this book is devoted. To "hunting" in "jungle" of leaves and grasses.

   To a close-up shot, with lengthening rings. Here all is more difficult. And "objects" pretty often mobile, and their movement increases concerning a film as the objective "approaches". And depth of sharpness is sometimes necessary big enough. And light exposure, on the contrary, decreases in direct ratio to a square of linear increase (you can see it in drawing). And — absolutely the trouble — eksponometr in most cases cannot gain you because it gives the chance to define endurance at shooting in usual scale, and at using lengthening rings you need to use corresponding factors of increase in this endurance. Yes where to be engaged in all these calculations when the life in "jungle" goes the turn and to a bug or the butterfly of business is not present before your calculations, they will not wait for their results!

   As to factors of increase in endurance at shooting with rings I will not result them here. They are resulted in all directories and even in the instructions applied on rings. Besides I personally never used them...

   But whereas?

   In modern, more expensive, than "Zenith", devices exists so-called "system TTL". The photo cell which has been built in the chamber, measures not abstract light exposure of object, and the concrete quantity of light which are passing through an objective. It is very convenient: not coming off the view-finder, observing for strelochkoj or light signals which you are in the same place, in the view-finder, regulating either speed of a shutter, or a diaphragm aperture, choose the necessary variant. The problem of a choice described above, all the same remains, but you do not need to come off the view-finder, and — the most important! — system TTL does not demand any calculations with factors at use of rings, and also instantly catches the slightest changes of light exposure.

   But what to do, if in your camera of system TTL there is no also a possibility to get expensive chamber with this system is not present too? There is an exit? Certainly, is. When I began the travel to domestic "jungle" about system TTL neither I, nor my acquaintances at all did not hear... In what an exit? An exit in transforming into system TTL... Your own eye.

   All devices, in effect, are continuations of human sense organs (in the same way, as mechanisms — continuations of feet, hands, our body). To define endurance it is possible to learn approximately. Some photographers removing without any rings, in usual scale, all the same never use eksponometrom though usual eksponometr costs not expensively and for shooting without rings is quite convenient. Advantages here not only that you get independence: you can leave eksponometr houses on forgetfulness, can lose it, it can break etc. Advantages are also others: any really good photographer necessarily also the artist, that is it tries to reach bolshego, rather than indifferent “validity reflexion”. He tries to seize an essence, "soul" of event or "object", to give the information both spatial, and time, to show even the own attitude to that photographs. . In the same way, as well as the artist-painter, the pictorialist uses the art means. If at the painter it is paints and a brush, at the photographer it is light (and colour) and a film.

   The serious error to think, that a photo, unlike painting, "is objective". Recollect, that we spoke concerning a finding of that of "a treasured point” shooting and that unique "moment". Unless it not truly art search? I will not develop now this serious theme (“the Photo - one of fine arts kinds”), she demands a place and time. But we will pay attention here on what: the endurance — as well as any other element of photographic technics — can become means of the art expression, one of artistic touches. Recollect best of photos of landscapes which you saw. What compete to picturesque pictures. As a rule, they are a little unusual. In particular, they or hardly are more light, than it would be necessary for “fair transfer of the image”, or is more dark... Or a different way they pass Those mood, thought... And one of ways — degree of their light exposure. And eksponometr (as, however, and system TTL) shows size for “fair transfer”. It is objective and indifferent". Certainly, it is possible, knowing its this property to correct endurance, according to the art requirements, but this updating will be all the same at random. It is much better, if you unaided eksponometra (or using it sometimes — for self-checking) learn to define endurance on feeling. Here then you also we will get true advantages. As well as all rather valuable, it is, of course, uneasy. I will tell about the experience. I started to photograph"jungle"on a film"Orvokolor"manufactures of GDR. Before, the truth, was at me some experience of a photo in usual scale on a black-and-white film, and a way of definition of endurance approximately to me was familiar. However, with a black-and-white negative film to address, certainly, is incomparably easier: It has the big photographic width (possibility to depart in exposition choice in this or that party from normal without essential deterioration of the image), error in exposition definition is possible to correct and at film display, and — especially — at the press of photos. Not that with a coloured film and — especially! — with colour reversible. Here, as it is already told in the second chapter, errors are almost incorrigible. And the width of a colour reversible film is rather insignificant because of complexity of its structure (five-six most thin emulsionnyh layers!) And the slightest deviation from a correct exposition gives either absolutely unusable slide, or a slide with the deformed colour rendition. The last, the truth, it is possible to turn from a lack into advantage, but about it conversation special. So, how necessary arrive with endurance definition when from a black-and-white film I have passed to colour reversible, moreover began to use transitive rings? Sensitivity of a film "Orvokolor" was nominally 32 units, and actually 22 so light, as a rule, at shooting with rings did not suffice. Trying to "squeeze out" everything, that is possible, I photographed only with endurance of 1/30 seconds, very much trying to appease trembling of hands — and they quite often shook: from delight. The endurance 1/30 stood at me constantly — to butterflies I then has not reached yet... I Manipulated a diaphragm. Also has noticed: At endurance in 1/30 seconds on this film "Orvokolor" sensitivity of 32-22 units and at normal display of a film good slides turn out just when light exposure in the view-finder was approximately normal. That is on sensation the image in the view-finder was just such what I would wish to see a slide. Here it is important to consider and that I removed in the conditions of Moscow and Moscow suburbs, in an average strip, at the corresponding geographical width, and my eye has been adjusted on these conditions of light exposure. When subsequently I have appeared in Central Asia, the eye "has adapted" and has started to deceive me — light exposure actually big seemed to "normal" me, and I did perederzhki. Until has realised this fact and accordingly it was not reconstructed.

   When there was on sale a film "Orvohrom" with higher sensitivity — nominally 45 units, and actually hardly it is less (under my conditions of processing of a film), that is just twice more sensitive, than former "Orvokolor", th has found a way out very simple: the constant endurance at me became for motionless objects not 1/30, but 1/60. Even better!

   Essential additions. To photograph a telephoto lens even motionless objects, even with such rather small focal length, as 135 mm (my "Jupiter-37a"), with endurance of 1/60 seconds risky: it is very easy to "smear" the image. Means, it is necessary 1/125. And if a telephoto lens, moreover with rings, moreover and mobile object — for example, the butterfly collecting nectar and quickly bossing hobotkom, or a bumblebee pottering about on a flower... that already and 1/125 can be too long — it is necessary 1/250. Naturally, light exposure correction is necessary... Twice, be four times more light owe the image in the view-finder... But there are no absolute obstacles for the person if it is movable by strong feeling and if its impulses are noble... Even to such subtleties to learn it is possible! But if you manage to master reception of definition of an exposition by means of an eye which you transform into the advanced "system TTL" considering not only objective circumstances of light exposure, but also your aesthetic wishes prospects before you open the boundless...

   Even eksponometr — system TTL — catches the most perfect and registers all light distributed on the area of the future shot. You degree of light exposure of different parts of object and a shot interests. And if, for example, the butterfly-repnitsa "is shone" in solar beams passing through its wings, as well as the flower of a wood geranium on which she sits, and the general background black (a site of a shade in the heart of the next bush) even system TTL, not speaking already about eksponometre usual, will make not absolutely exact definition of light exposure, for, summarising light total, it as though will distribute light of our object — butterflies on a flower — on all area of a shot, "not understanding", that a shadow background should not participate in this distribution. Pictures in passing counter light ("kontrazhur") as it was already spoken, in general are very effective and advantageous.

   But in these conditions eksponometr — especially if you still apply also rings, — even system TTL cannot define an exposition with that accuracy what is necessary for you to achieve the greatest expressiveness of a shot, conformity of the future picture to that you see at the moment of shooting. Will even more be mistaken eksponometr if you try to pass outflow of wings of the butterfly on a picture, dragonflies or backs of any bug. Let alone pictures of frosty patterns on glasses of a window close up, or kristallikov with illumination, or violences of colours on a soap film in a flask — about what we will speak in the seventh chapter. After all average total light exposure on which it is adjusted eksponometr or even system TTL, and strictly certain light exposure of object or its part — that at which the picture will be rather expressive is necessary to us not. So, with exposition definition — as, however, and in all other cases of our life — the technics can help with a case to us only. But it in any way does not cancel the main thing: our consciousness, our human feeling. Again and again: the technics is not the purpose, and means. And each time, when you can refuse it without damage to the purpose (and in this case — even with a prize), refuse! Is, the truth, in a method of "eyes-eksponometr" one vulnerable moment. Constantly manipulating a diaphragm, you lose possibility to use benefits of a "jumping" diaphragm and to direct at sharpness at completely open aperture of an objective that is much more exact. In this respect there are two reasons. The first: even at zadiafragmirovannom an objective you can correct sharpness a "pendulum" method — depth of sharpness zadiafragmirovannogo an objective in any measure will relieve you of an error. The second: If the object is not excessively mobile, you can, having defined size of a necessary diaphragm the described method, quickly to switch it on "jumping" and to direct at sharpness at completely open objective — at the moment of shutter descent a "jumping" diaphragm will work. However, I have made overwhelming quantity of the pictures without a "jumping" diaphragm, at zadiafragmirovannom an objective... So, the described method — the pivotal, that will help you to solve the basic technical question of shooting, taking into account four variables — sensitivity of a film, light exposure of object, a diaphragm, endurance, — and to solve it in favour of artistry.

   Now it is necessary to learn to solve art problems of other order. Here we also come back to the promised conversation on a composition...

   How much disputes already were in this occasion, how much rules and managements are written! Certainly, there are certain and indestructible objective laws of construction of the picture, connected, obviously, with psychology of human perception. There are such concepts, as balance, diagonal, vertical, horizontal construction, linear prospect, proportions, gradation of tones, distribution svetotonalnyh weights, rhythms of drawing and light stains, voice-frequency contrast, light accents, the semantic centre, a line, “gold section” and so on. On courses of photomasters, at the institutes anyhow connected with a photo and cinema, and especially in art schools and institutes series of lectures about a composition are read is a whole science. Is and corresponding textbooks. It is natural, that in this small book I cannot even shortly describe this course, even I will not acquaint you with the general rules and concepts of this course. Much easier that whom it will especially interest to address to special books. I will share only general own reasons in this respect and some own experience.

   The first and main of what I am assured: the person constantly holding in mind all quantity of learnt rules, remembering them, aspiring by all means to execute them in each concrete case and most of all afraid them to break, as if instructions of the higher heads, never becomes the true creator and the artist. He not only cannot create something standing, but will not receive also any pleasure from the employment for the pleasure assumes freedom and independence of another's pressing will. The fear of infringement of rules hanging by a sword of Damocles will deprive of you both freedom, and independence.

   Yes, correctly. You attentively read the book if have recollected now that is a question of the fifth and sixth precepts of skill about what there was a speech in the third chapter. In the same way, as with deliberate distortion of endurance in comparison with "objective" eksponometrom, you should aspire here besides: honesty having studied laws and rules, having understood sense and nuzhnost their observance, it is necessary to manage to be released from them, even, maybe, in general to "forget" them, translating from area conscious (memory) in area subconscious (intuition, feeling). You should acquire so them, that, "digested", they already become a part of your consciousness — so, how much "organism" of your consciousness accepts them (unacceptable — down with!). “ Having digested ”them, you will achieve that they any more only will not stir to you, constantly pulling, reminding about themselves, taking away your independence, and, on the contrary, will help you to invent the rules, to open, maybe, in general new laws which your predecessors have not managed to notice. After all actually: rules and laws about which you read, someone has written, someone has opened. It is result of experience of other people, no more, not less. Same, in effect, people, as well as you. Perhaps, more cleverly, and can be, and is sillier — after all you have not told yet last word, as they say: it is not over yet... Written to textbooks and read to you at lectures of a rule and laws are not any absolute and indisputable true, it something noticed and described by live, concrete people. The summarised experience of your predecessors. Your problem: having acquired it, having concerned it with due attention, respect and respect to get the experience. And, constantly correlating it with experience of your predecessors, not allowing it thus to brake your knowledge of the surrounding objective validity, to go further. And to rejoice, if it is possible to you. Here this psychological raskreposhchennost also is, in my opinion, the major condition of any human activity. And photos too. More and more time: be not afraid of laws and rules! Acquire them creatively — with interest and curiosity, as though in advance assuming, that, having acquired them, you receive not constraint, and freedom. For can break them. But only after will acquire. After all — I remind! — your purpose not in that all life diligently to execute something, set to you someone. And in that, having learnt to execute, be able nevertheless to solve and arrive in own way. How you consider better. And to receive from it pleasure. In your unique, in your unique life. Do not belittle itself. Never neglect those possibilities what to you were given by the nature. So, what I can add to those rules and laws which you, undoubtedly, will acquire from other books and managements? What to tell besides here it, the pivotal, in my opinion, a principle — a liberation principle?

   1. Be guided by the feeling.

   All your attention — as well as concerning definition of a correct exposition — in a view-finder window. That you will see there it will turn out on a picture if you have acquired a rule of "eyes-eksponometr". Press shutter descent during that moment when feel: that you see, is pleasant to you, you excites. Obviously, there is a certain law of empathy. Showing slides, I noticed very often, that the most different people are excited just with that has excited me at shooting if I was possible manage it on a slide. It is not always easy to explain it, but, as a rule, this feeling never deceives.

   2. If photograph something valuable, from your point of view, do not regret a film. I already spoke about it, but I will repeat here once again. How much time at the beginning I to tears have grieved, that have not made some more shots of any "object" which has liked me! After all all is crossed out, all your efforts appear empty if that is the only thing! — a shot which you wished to receive, you have not made, having regretted a film. And on the contrary, all is compensated by the one and only standing shot, certain your personal "masterpiece", a personal record izobrazitelnosti. Here, as well as everywhere in a life, achieve not quantity, and quality. Only quality delivers true pleasure to the artist, and then and to spectators. Only so you can be improved: through a considerable quantity of pictures, through efforts and search torments-to quality.

   3. Search. Always try to try other scale, other foreshortening, a background, a pose, other endurance and a diaphragm. Experiment, courageous experiment, — the father of opening. Having removed as usually — just in case and to begin with, - try to remove unusually, unusually, somehow in a new fashion.

   Dream, catch associations, find analogies — live full during "hunting", give itself freedom. Be not afraid to break any rules if feel, that “here something is”. Then, on a picture, will understand, there was "something" or not; and even if you were mistaken, your efforts were not gone for nothing: you have got that tsennee any hand-written rules — own experience.