Lets get physical, physical... you know the opening line to that song...

Well it's a good way to add a new statement on Digital Photography...

The Pro Fashion Photographers of to day, while shooting with medium format cameras fitted with a digital back, now has it down to a fine art by keeping the model in the same position and checking the image on screen immediately and making adjustments to the pose on the spot.

In a way, this has helped the Fashion Photographer to eliminate the failure factor, or to put it more bluntly, (the cock-up factor), as the client can direct the image he requires by watching a series of images on screen for his selection.

Where does that leave you, well yes you can see the images immediately on your digital cameras LCD screen, but I don't know about you, the image is so small and unless you have the eyesight of "Superman" your not going to get the picture.

Of course if your a Pro working in the studio, your going to have a 21 inch. flat screen along site your camera to view and select your images immediately and this is where the Pro Ad/Fashion Photographer is definitely going to score over you.

Now where is all this going and have you noticed how the new technology always seem to favour the Pro Photographer, or does it...

Consider the other advantages for the non professional photographer and how he can benefit from the new technology, apart from the obvious advantage of not using and processing a film.

By simply carrying your laptop as part of your standard kit and although the screen of your laptop may not be as big as the studio based Pro Photographer giant flat screen, in some cases this can work as well for you to have an equal advantage as the Pro photographer.

If your hell bent on creating a well composed creative image and viewing it as you progress, then with the use of your laptop it will work wonders for your photography.

For example the controlled situation of landscape photography, or your own home studio, or shooting at other locations, such as children's portrait and other part time photo sessions. The possibilities are enormous and even if you just use it to confirm that you have the shot you want, that in itself is a great advance in your way of working.

It was just over a decade ago that the pro and armature photographer alike could only shoot enough images and wait for the processing to be carried out by the lab to see if the results justified what the photographer wanted to achieve.

More than half a century ago, I can still remember the thrill of being in the darkroom and watching as the print developed in the tray and the first time I saw this I was only 13 years old and the thrill of those moments will never fade.

I was totally "gob smacked" be the magic unfolding before my eyes and what we all take for granted to day just doesn't turn me on in the same way as those bygone years.

If you ever get a chance to set up and work in a Black and White darkroom, I'll guarantee that you'll be spell bound. Sometimes going back to basics can really get you to see it all from a place fare above where we are right now...

I remember shooting weddings in Black and White on a medium format camera and after we shot the cutting of the cake, rushing off to process the films and returning about two or three hours later with 'Whole Plate" size enlargements (8 and a half x 6 and a half inch), PROOF prints, still dripping wet and it never cease to amaze the guests at the reception, how quick the pictures were back and I still recall how they would be throwing their money at me to order prints.

Now you go to some weddings and at the reception while your eating, you can sometimes watch the shots on a huge plasma screen and think nothing of it, apart from the entertainment aspect of it all.

Lets all brake into a chorus of "Those were the days my friend"...

Roger and out...

To learn more about Digital Photography go here: Digital Photography

To learn more about Black and White Portrait Photography go here:Black and White Portrait Photography

Roger started his career in the early sixties at the tender age of 15 as an apprentice in a large London Ad/Fashion Studio. A few years late he became one of London's youngest most successful Ad/Fashion photographers.

In the seventies he became freelance and took most of his clients with him. He retired recently but still carries out selective assignments. He also runs several websites, one of them is: Pro SECRETS of Money Making PHOTOGRAPHY

Roger also teaches and helps photographers and beginners with advice from his vast experiences in Ad/Fashion photography.