Special Problems

The special problems of photography -- and there are many -- seldom discourage the serious photographer. On the contrary, these problems stimulate his interest, their goad prodding him to some of his finest pictures. They excite him to stretch and extend the outer limits of his knowledge, and in the process acquire a better understanding of the full capacities of his camera, equipment and ingenuity.

The shot considered a routine assignment by an experienced professional may be a hazardous adventure for the beginner. But for photographers of every rank, certain special problems are universal. One is the all-pervasive power of nature's extremes; under the lash of a freezing rain or the heat of a summer sun, simply preserving film, lenses and camera -- let alone getting a good picture -- is a severe test. More exotic perils include the dust, fire and explosions of an erupting volcano or an insidious fungus that will spread over equipment in the damp tropics.

Mechanical failures that ruin a picture can be avoided by foresighted testing. But far more common are the problems of setting -- reflections, obstacles, distances that get in the way of clear and dramatic pictures; yet all can be got around by the proper technique. There is one classic problem that has plagued and intrigued photographers since the development of the camera and can never be fully solved: how to convey a sense of action in the utterly motionless medium of still photography. But the attempts to resolve this problem lead to pictures that communicate the idea of action to the viewer.

These problems, while not those of every photographer, are basic to the entire photographic experience. To understand their traps is to begin to realize ways to avoid them. Or to make use of them. For some of the most exciting pictures are those that are deliberately shot the wrong way -- and turn problems into advantages.