◼ Valuable things to know ↑

“To learn something and become better and better at it over time, is this not also a joy?” asked the Chinese philosopher Confucius (551 bc–479 bc).

How does exposure metering work? What is time delay mode? How do I set the aperture and why should I even do that in the first place? There is a great deal of knowledge that makes photography easier—or even possible in the first place. None of this has anything to do with photography in the divine service, but—how wonderful!—it can even be applied when taking photos there.

◼ Analysing photos ↑

“Every time someone tells me how sharp my pictures are, I assume they mustn’t be very interesting photos. If they were, there would be more to say about them,” wrote an unknown author.

Why is it that I find a photo to be “a success”? What makes me think a photo is somehow “off”? What feelings does a picture elicit within me? How can I adjust a successful shot? If I am personally aware of why a photograph did not succeed, I can avoid the same disturbing aspects in the next picture. If I do not know, and am left to simply rely on my gut feeling which tells me it’s all garbage! I will hardly be in a position to continue developing my skills. There is, however, an abundance of possible criteria I can use to analyse my own photos—as well as those taken by others. Among others, these include:

• brightness: is the picture bright enough to allow all the details to be recognised?
• sharpness: is the motif depicted sharply enough to recognise?
• subject/photo message: can the message of the photo be recognised? Is the information the photographer seeks to convey to the viewer readily and easily comprehensible in his photo? Why was the photo taken? What is it supposed to display?
• position/perspective: was a good position chosen for the photo, or might another perspective have resulted in a better photo (more of the subject, less distractions in the photo ...)?
• background: is the photo free of distracting elements in the background, or is there something taking attention away from the main motif? Does the altar cross seem to be “growing” out of the officiant’s head? Do the beams of light from the altar cross seem to create a halo over the officiant’s head?
• photo margins: does anyone appear to have only half a head? Cropping is forbidden, unless it is deliberately used as a stylistic device.
• colour fidelity: are the colours in the photo authentic and identical to the colours on site? Are the lighting conditions correctly reflected? Or are sadness and melancholy to be conveyed intentionally by way of black-and-white photography here?
• proportions: are the proportions right? Or are distortions (converging lines, etc.) causing overly unrealistic views?
• focal length: were the surroundings incorporated with a short focal length? Was some image content compressed using a longer focal length?
• pars pro toto: were all the unimportant elements left out?

◼ Direct and indirect flash ↑

A flash device can be used as a primary or supplementary light source. An external flash device (as a detachable flash or off-camera flash) can easily be used as an indirect flash.

Careful: direct flash has many disadvantages. If the light from the flash is applied frontally (or perhaps even from close up), it often has the effect of making people in the photo look pale. Closed or squinting eyes, or open eyes with red pupils, reflective eyeglasses, or en hanced facial shadows and shadows behind people’s heads can make a successful shot almost impossible right from the outset.

An easier approach in many situations is indirect flash—in which the light from the flash strikes the subject by way of a reflector integrated into the flash device or by way of a wall or ceiling—and provides deeper illumination.

Using an indirect flash, I will achieve a deeper illumination of the space. This also helps me when taking photographs in the church sanctuary. This way the light does not merely strike the first two or three rows (as with a direct flash), but instead—depending on the angle at which it is held—also reaches the rows behind (see images at left).

If I use an indirect flash, I must pay special attention to the colour of the reflective surfaces so that a wooden ceiling does not impart a reddish brown colour to the photo, for example.

When using indirect flash, I move the flash device such that its light does not strike my subject from the front, but is redirected by a reflective surface. Like a bank shot in a game of billiards, the light of the flash strikes the subject by way of a reflective surface.

The physics theorem stating that the angle of incidence equals the angle of departure describes quite precisely where the light of my flash will fall, for example, if I use a ceiling as a reflective surface.

◼ Exposure metering ↑

Digital SLR cameras offer the possibility to adjust exposure measurement individually. Anyone who has ever ventured into program auto mode, time delay mode, or aperture priority mode will benefit from this feature. Exposure metering can be used to determine which area of the image should be properly illuminated.

Matrix (evaluative, multi-field) metering 
The image is subdivided into many small segments, for each of which a measured value is determined. From the individually measured values, an average value is then calculated, and it is on this value that the optimum exposure value for the overall picture is based. In simple terms, matrix (or multi-field) metering involves many spot measurements that are then averaged into a single measurement. This measurement is the all-round talent and can also be used for backlit photos.

Partial metering 
In selective metering, a small area is measured around the active autofocus point. Depending on the camera model, the measurement is between 6–10 per cent of the viewfinder range, and is useful if the background is much brighter than the subject itself.

Spot metering 
In spot metering, a small target area (about 1–4 per cent of the viewfinder field) is measured in the central viewfinder area. Spot metering is especially useful if the motif has a relatively bright or dark background. Spot metering ensures that the subject itself is correctly exposed. The background is neglected in the process, which in individual cases can lead to underexposure or overexposure of the background.

Centre-weighted average (integral) metering 
Centre-weighted average metering takes the light in the overall image into account. However, the area of the centre of the image is assigned special weight in the measurement. The measurement is a compromise between multi-field metering and spot metering.

◼ Shooting modes ↑

Using the shooting modes P, Tv, Av, and M (Canon) or P, S, A, and M (Nikon, Sony, Panasonic), the shutter speed, aperture, ISO value and other values can be individually set. These settings offer independence from the automatic functions of the camera that have been pre-set by the manufacturer, and provide an opportunity for creativity and individualised image design. It is worthwhile to experiment with these settings—mind you, not when you happen to be taking photos at your best friend’s wedding. Since these settings can differ from camera to camera, I recommend reading up on the details in the relevant user manual.

Fully automatic 

• Description: most manufacturers indicate the fully automatic mode using a green rectangle. In this mode, the camera takes over all the settings. All the photographer has to do in this case is choose the perspective and the moment he takes the shot.
• Application: for taking photos without a second thought, for snapshots, for when there is uncertainty about all the other shooting modes, for when you just want to be safe.

Program auto mode 

• Description: the camera automatically suggests shutter speed and aperture value. Both values can be changed before clicking, however. For any changes made to either shutter speed or aperture value, the camera will determine the corresponding value of the other variable. In this mode, the following can be set individually: AF-mode, metering method, ISO, exposure compensation, and other parameters. When using the flash, the camera exposes in P only long enough for the flash to brighten the foreground. This is in contrast to aperture priority Av/, where the flash remains long enough to illuminate the background as well.
• Application: a popular alternative to fully automatic mode with the possibility of adjusting shutter speed and aperture individually (for example, in order to set a more open aperture for depth of field, or a faster shutter speed for less motion blur). Individual settings in combination with the automatic settings of the camera result in creative and surefooted photography.
• Note! Adjustable parameters such as AF mode, measurement method, ISO value, and exposure compensation are carried forward to subsequent photos and are not automatically adapted to changing conditions by the camera.

Shutter speed selector/Shutter priority 

• Description: the photographer chooses the shutter speed. The aperture value is automatically calculated by the camera. The following can be individually adjusted in this mode: AF mode, ISO value, exposure metering, exposure compensation, and other parameters.
• Application: the shutter speed delay is used to freeze motion or create motion blur. A fast shutter speed freezes movements, so that even rapid movements are depicted sharply. A slower shutter speed allows for motion blur.
• Note! All adjustable parameters (AF mode, ISO value, and so on) are carried forward as set, and are not adjusted by the camera to the respective image.

Aperture priority/Shutter speed automatic 

• Description: the photographer chooses the aperture value. The shutter speed is automatically calculated by the camera. The following can be adjusted in this mode: AF mode, ISO value, exposure metering, exposure compensation, and other parameters. When a flash is used, the camera exposes in Av/A long enough for the background to be brightened, in contrast to program AE, where only the foreground is brightened.
• Application: the aperture pre-set is used to specify the depth of field. An open aperture (= small f-number) reduces the depth of field to a small area (subject becomes sharp; foreground/background is out of focus). A small aperture (= large f-number) increases the depth of field to full focus in the foreground and background.
• Note! All adjustable parameters (AF modus, ISO value, and so on) will be carried forward as set, and are not adjusted by the camera to the respective image.

Manual setting 

• Description: the photographer selects the aperture value and the shutter speed on his own. The camera does not intervene. In this mode, you can also individually adjust the following: AF modus, metering method, ISO value, exposure compensation, and other parameters.
• Application: this setting is not recommended for reportage photography. Varying lighting conditions and the need to individually set the shutter speed and aperture value will require a few seconds of time to think. This kind of time is not necessarily available for photography during a divine service. This setting is recommended for photography under calmer conditions (landscape, architecture, portraits, products, or the studio) with a preference for special combinations of shutter speed, aperture value, and flash (compensation).

◼ ISO value ↑

The term ISO dates back to the times of analogue photography and is an indication of film sensitivity. In the age of digital cameras, we continue to speak of ISO values, which describe the sensitivity of digital sensors.

In contrast to the earlier 35 mm film, which, for example, allowed the photographer to take 36 images with an ISO value of 400, the digital image of the ISO value can be changed from picture to picture.

Digital cameras currently allow for settings ranging from ISO 25 to ISO 409,600 (depending on the camera model). The lower the ISO value, the higher the sharpness, the more intense the colours, and the lower the image noise. Digital single lens reflex (SLR) cameras from the current range of manufacturers can handle ISO 2,000 without any loss of quality and without image noise.

What ISO value is optimal? All of them, actually. The question of whether ISO 100 or ISO 1,000 is better will depend on the camera, the lens, the lighting conditions, and the image that is to be captured. In general, however, the following overview is a good starting point. The exceptions confirm the rule—in experimental photography and for special wishes regarding image design.

• a whole lot of light – ISO 25 to ISO 100
  outside: sunny, cloudless; inside: studio, many strong light sources
• a lot of light – ISO 200 to ISO 400
  outside: sunny with clouds; inside: studio, many light sources
• sufficient light – ISO 500 to ISO 800
  outside: cloudy; inside: bright spaces
• little light – ISO 1,000 to ISO 2,000
  outside: twilight; inside: dark spaces, few light sources
• insufficient to no light – ISO 2 ,500 and higher
  outside: twilight to dark: inside: dark spaces, few to insufficient light sources

◼ Camera types ↑

Digital Single Lens Reflex (SLR) camera
“A digital single-lens reflex camera (also called a digital SLR or DSLR) is a digital camera [in which] light travels through the lens, then to a mirror that alternates to send the image to either the viewfinder or the image sensor. By using only one lens, the viewfinder of a DSLR presents an image that will not differ substantially from what is captured by the camera’s sensor,” explains Wikipedia.

Rangefinder camera (a form of Digital Viewfinder camera)
“A rangefinder camera is a camera fitted with a rangefinder, typically a split-image rangefinder: a range-finding focusing mechanism allowing the photographer to measure the subject distance and take photographs that are in sharp focus. Most varieties of rangefinder show two images of the same subject, one of which moves when a calibrated wheel is turned; when the two images coincide and fuse into one, the distance can be read off the wheel. More modern designs have rangefinders coupled to the focusing mechanism, so that the lens is focused correctly when the rangefinder images fuse,” explains Wikipedia. The photographer has no way of seeing the image through the lens. In the viewfinder, the photographer sees two images. The camera is in focus when both images are superimposed to form a single image.

Digital Compact camera (a form of Digital Rangefinder camera)
“A point-and-shoot camera, also known as a compact camera, is a still camera designed primarily for simple operation. Most use focus free lenses or autofocus for focusing, automatic systems for setting the exposure options, and have flash units built in. Point-and-shoots are by far the best selling type of separate camera, as distinct from camera phones. Point-and-shoot cameras are distinguished from single-lens reflex cameras (SLRs) in several respects: point-and-shoot film cameras, and many digital ones, use a viewfinder. The image that the photographer sees is not the same image that passes through the primary lens of the camera. Rather, the image in the viewfinder passes through a separate lens. Digital cameras eliminate one advantage of the SLR design, as the camera’s display image comes through the lens, not a separate viewfinder,” explains Wikipedia.

Advantages of the Digital SLR camera over the Digital Rangefinder camera:

• more flexible: interchangeable lenses, external flash units, extensive accessories
• higher quality: better quality images due to larger sensor and higher-quality optics
• more individualised: extensive settings offer a large scope when taking photos
• faster: burst shots/continuous shooting possible in short to very short sequences

◼ Lenses ↑

One advantage of SLRs over viewfinder cameras is the variety of interchangeable lenses that can be employed: fish-eye, super wide-angle, wide-angle, standard angle, or telephoto—as a fixed focal length or zoom lens. The lenses are available in different quality levels and are often optimised for a specific application. The photo results are much better compared to the fixed lenses of compact cameras. The lenses can be divided into various categories. The lens classes listed in the following provide an initial overview, and can be divided into further subcategories or mixed categories.

Fish-eye lens

• Focal length range: 8–15 mm
• General application: for photos of up to 180°, landscape, inside shots, portraits (fun photos), and experimental photography
• Divine service application: only needed under certain conditions, however, as a complement to wide-angle and normal lenses, fish-eye lenses offer interesting possibilities for image design
• Description: a fish-eye lens provides extremely clear, sometimes slightly distorted shots, in which even the feet of the photographer can be seen at times. Even circular images are possible with a fish-eye lens. Actual proportions are not accurately reflected by fish-eye lenses. Whatever is closest to the lens is magnified.

Super wide-angle lens

• Focal length range: 10–30 mm
• General application: landscape shots, inside shots, and architecture (limited for the latter due to distortions)
• Divine service application: only needed under certain conditions, helpful and interesting as a complement to the classic wide-angle lens when taking photos in small spaces
• Description: A super wide-angle provides very clear, wide-angle shots. Even small spaces seem enormous and spacious. For this reason, super wide-angle and wide-angle lenses are not well suited for portraits of people. Actual proportions are not accurately reflected by super wide-angle lenses. Whatever is nearest to the lens is magnified.

Wide-angle lens

• Focal length range: 20–40 mm
• General application: landscape shots, inside shots, and architecture (limited for the latter due to distortions)
• Divine service application: required for inside shots in churches, but also for photographing church buildings from outside
• Description: like super wide-angle lenses, wide-angle lenses provide very clear shots of spaces and buildings. Actual proportions are not accurately reflected by wide-angle lenses. Whatever is closest to the lens is magnified.

Tilt and Shift lens

• Focal length range: 17–90 mm
• General application: to avoid converging lines when photographing (tall) buildings
• Divine service application: rarely or not at all required; shots of church buildings without converging lines would be possible
• Description: a special lens that allows you to move and pivot the lens system. Converging lines of (tall) buildings can be avoided using the shift lens, (although a cheaper alternative would be to eliminate converging lines through image processing).

Normal lens

• Focal length range: 30–100 mm
• General application: used as a go-to for landscape photography, suitable for overview as well as detail photography and portraits
• Divine service application: well suited or even required for the majority of all photos in reportage photography
• Description: what many refer to as their go-to is the normal lens. It is the first choice for a multitude of subjects. The focal length of 50 mm corresponds roughly to the actual human field of vision. Size ratios are accurately reflected by normal lenses, especially at a focal length of 50 mm.

“The equipment we use only plays a small role. What actually matters is how we control it,” wrote the American photographer Sam Abell (born 1945), who worked for National Geographic magazine, among others.

Telephoto lens

• Focal length range: starting at 100 mm
• General application: for photographing more distant subjects, portrait photography, sports photography, and nature photography
• Divine service application: can be necessary for taking photos inside of church buildings; helpful for taking photos over longer distances; necessary for taking photos in large halls or church buildings
• Description: with their larger focal length range, telephoto lenses allow the photographer to zoom in on even far distant subjects and present them in full frame. Actual proportions are not reproduced correctly by telephoto lenses. From about 100 mm focal length, the spatial depth (that is, between several subjects situated one behind the other) is shown shortened in relation to other subjects; individual subjects seem to be closer to each other than they are. The distance between individual subjects on the same photo is no longer possible to distinguish correctly. The focal length of telephoto lenses can be lengthened by a teleconverter (which is also the case with other lenses). Use of teleconverters is at the expense of light or maximum aperture, but is a more affordable alternative compared to the purchase of a larger, additional telephoto lens.

Macro lens

• Focal length range: 50–100 mm
• General application: for taking photos of small subjects that are supposed to turn out especially large
• Divine service application: rarely or not at all necessary; if used at all, it would be conceivable for detail shots (flowers, wafers, etc.)
• Description: special lens that can be used to photograph small subjects owing to its low minimum distance. So-called macro-rings offer a cost-effective alternative to the macro lens (albeit with some weaknesses in image quality) that are threaded between existing standard angle or telephoto lenses and the camera body.

◼ Shoulder bags, backpacks, trolleys ↑

There are many ways to bring your camera equipment to the divine service or other locations. Not everything billed as a transport aid is optimal for every purpose. Of course, apart from personal preference, it all depends on how extensive your own equipment is. After all, it’s not worth bringing a suitcase for just a camera and flash.

Lens pouches
Lens pouches, which—as a supplement to the camera in your hand—store only one or two lenses for changing, are suitable for very small jobs. Since they do not have room for a replacement battery, another memory card, and so on, the use of lens pouches is limited to very few occasions.

Shoulder bags
In the field of reportage photography—with its frequent changes of perspective and locations—and for direct access to equipment components, I recommend—and use—a shoulder bag: it keeps your equipment close to your body, and even allows you to change lenses while running. The bag should be well padded. Additional note: special lens pouches allow for the transportation of a second or third lens on your belt. This allows you to change lenses at weddings or in divine services without having to lug around a large camera bag.

Backpacks
The photographer’s backpack is especially useful if I am only taking photos in one location: I arrive, unpack my equipment, take my photos, pack my equipment again, and leave. During transport, my equipment is easy on my back and evenly distributed on my shoulders. It doesn’t shift or slip, and it always arrives safely. When I am in the midst of the fray, however, I do feel a little uneasy because I do not have my equipment right at hand (on the other hand, I have other worries when the backpack is not tightly closed). It is not optimal for reportage photography either because I do not have easy access to my equipment.

Trolleys
The trolley offers greater stability and safety, especially for longer journeys by car, train, or airplane. Mind you, it is not suited—or not very well suited—for running around in a divine service already on account of the rolling noises it makes.

◼ Accessories ↑

As a rule, photo bags usually come with a lot of small storage compartments, additional pockets, and attachment loops. And after a few years of photography experience, I have found that there are actually some little items that fit into these compartments and pockets, because they come in handy at certain times.

• Handkerchiefs for a quick wipe dry if someone happens to be perspiring
• Soap bubbles for one or two posed shots (weddings, baptisms, etc.)
• Rain gear/umbrella for the odd shower that may happen to come along
• Microfiber cloth for easy cleaning of lenses and camera displays
• Reflectors for help with lighting, light dispersion, or light direction for posed shots inside and outside the church
• External flash battery or batteries for flash unit for enhanced flash power
• Teleconverter for extending the existing focal lengths
• Macro-rings to shorten the minimum focusing distance
• Battery grip to increase battery capacity and for comfortable portrait holding in portrait mode

The use of a tripod for photography during divine services is disputed. Most photographers manage to do without a tripod, or at least, they try to manage without one. Its transportation and use in spaces filled with a lot of people is problematic, or perhaps even impossible when fully unfolded (although a light monopod might be of better use here). On the other hand, no human subject will ever pose so motionlessly in front of the camera that a photo with a long shutter speed (even when captured with a tripod) will automatically result in an image without motion blur. There is quite a difference between setting up my tripod to take photos of the countryside and standing in the middle of a lively crowd to photograph moving subjects.

◼ Not to be taken too seriously ↑

What is the best way to stir up anger and irritation? How can I best annoy my brothers and sisters and disturb their devotion and sanctification? And how can I be sure to be barred from taking photographs under any circumstances the next time?

• Moments before the start of the divine service, use a macro lens and a ring flash to photograph every individual flower in the altar decorations.
• Since you didn’t manage to reserve a seat, just grab a spot beside the ministers at the altar. This seat offers the best view for the most fantastic subjects anyway.
• During the divine service, show your neighbours the best snapshots of the day before, using your camera’s preview function.
• Hand your camera to the officiant while saying goodbye so that he can finally take a shot of you, the photographer.
• During the prayer, take portrait shots of all the people standing around you in the service.
• Only arrive at the church after the start of service, and then begin unpacking all your photo equipment during the opening prayer so that everyone notices that the photographer is there.
• Yell out, “Move aside!” and loudly secure yourself a good spot to snap a shot of the final farewells after first indulging in a nice fifteen-minute chat with an old friend.
• Even after your third complete failure at photography, remain convinced that a small compact camera is totally sufficient for photography in large halls, and loudly announce that anything more is simply disproportionate, commercial delusion on the part of a few individual technical freaks.
• Since he is standing at a slightly taller altar, take a photo of the officiant by climbing to the top of the painter’s ladder you brought along. There is always plenty of room to set up the ladder in front of the altar, and the members can still look through the space under the ladder if they want to see.
• Stay close behind the second official photographer and try to copy as many of his shots as possible. After all, in the photo workshop they told you to learn from other photographers.
• After the divine service, distribute as many business cards as you can, and be sure to point out that you are also available any time for beauty photography.
• Since you didn’t capture that many nice shots in church today, just publish a gallery of photos from last Sunday. After all, only insiders will notice the fact that there is a different officiant!
• Create depth of field by blurring everything around the subject with the brush in the image editor. All it takes is a little Photoshop magic, and every single bokeh can be recreated!

• Bring along a bunch of different photo canvases so that the background really looks good on all the photos.
• Quickly powder the officiant’s face during the choir hymn so that his sweaty forehead doesn’t reflect so much light.
• Since you certainly don’t want to draw attention to yourself with your gigantic SLR camera, just photograph the whole divine service on your cell phone camera.
• Get the Deacon to charge your empty batteries on the audio-video system during the divine service. After all, the electricity here is free and the Deacon wouldn’t have had anything else to do otherwise.
• As the crowning touch, furnish all of your photos with a stylish digital frame in image editing, thereby enhancing the gallery beyond all recognition.
• Turn on the ceiling lights during the concert to ensure that there will be enough light to take your photos.
• Drop the temperature in the church building to 17° Celsius the night before the service because this is proven to be the ideal operating temperature for the camera batteries.
• Publish the photos anyway, even if the persons depicted in them expressly told you “No!” After all, they are members, and they probably didn’t mean it like that.
• In the camera menu, pick the smallest picture size. This will assure that you can fit over 1,000 photos on your memory card instead of only 128. Wow!
• Before the divine service, distribute disposable cameras to all the members. That way you are guaranteed to get more photos than if you were the only one taking pictures! After all, it worked out so well at the last wedding reception!
• Publish the photo of the Officiant with eyes closed as is. After all, it is the only photo you took of him. Next time maybe he will remember to keep his eyes open!
• Emphatically insist on the publication of all of your photos, even if you were not supposed to have taken any photos at all, since the editors had already appointed their own photographer.
• Photograph your own family especially often. After all, your own kids are the dearest and most beautiful human beings anywhere!
• Take all your photos with an ISO value of 100. After all, they only ever used 100 ISO film in the old days.
• Wear a neon-yellow safety vest emblazoned with the words “Most Official Photographer” over your hooded sweatshirt to show all the members how important you are.
• To better illuminate the altar space, hide four wireless flashes in the floral decorations, and simply accept that the officiant will lose his vison by the time the service is over. Later on, the whole congregation can get together to celebrate his eventual recovery of vision as a miracle healing.