Photography, My Hobby

Tips for Beginners

Photography as a hobby has recently lost its popularity, and the institution of the amateur photographer has certainly declined. It is difficult to call someone an amateur photographer when their interaction with photography is limited to pressing the camera button and dropping off the film at a service point. However, this method is currently the most widespread. Whether this is good or bad is certainly debatable, dependent on individual interests, and above all, on the free time that is increasingly scarce. Moreover, amateur photography, or rather its self-processing, is now practically limited to working with black-and-white materials, which are generally considered outdated. Since I currently use service points, I will not try to persuade anyone to convert their bathroom into a darkroom but will instead share my experiences.

The Camera

An old saying goes that "a photo is taken by a person, not a camera." There is much truth in this, but it cannot be denied that equipment significantly affects the quality of the photos we obtain. Currently, our market is dominated by compact cameras integrated with small built-in flash units from various companies at different price points. All are generally advertised by the manufacturer as fully automatic cameras. However, this automation has different faces; either a given camera is so good that it possesses advanced mechanisms for setting focus and film exposure, or "nothing is adjustable" because it is so primitive that it has only one possible value. This raises the question: how is it possible that such simple cameras can (sometimes) produce good photos? The answer lies not in the camera but in the negative materials.


Modern photographic films are characterized by incomparably greater tolerance for exposure errors than materials from the previous era, such as ORWO. Film manufacturers assume that from a frame that is 2x underexposed and 4x overexposed, it is possible to obtain technically correct prints. In practical amateur use, this range is even greater. Of course, an appropriate camera for a substantial price will save us from many troubles and inconveniences, but there are also relatively accessible solutions. Many amateur photographers in the past equipped themselves through FOTO-OPTYKA with cameras produced in the former USSR, and the wealthier ones with those from the GDR. These ZENITS, FEDs, or PRAKTIKAs are often still lying forgotten in drawers or attics. When the decision is made to purchase a camera (e.g., due to the birth of a child or a first communion in the family), these old cameras are usually not considered for potential use.

This is because they are old, sometimes heavy and cumbersome, and, worst of all, they need to be "adjusted." Moreover, they do not have a built-in flash essential for indoor photography. However, these cameras still possess incomparably better optics, surpassing the quality of popular and even more expensive compact cameras. An additional advantage may be the fact that they are often sold at flea markets for next to nothing. Do not trade a good, technically sound ZENIT for a piece of plastic junk just because the majority uses it.

External Flash

Any external flash will be better than the built-in one in the camera. First of all, it will have greater power, the so-called guide number, and may be equipped with precise flash automation, commonly referred to as a computer.

Such a flash will also allow us more freedom in maneuvering light, using reflected light from the ceiling, multiple flashes, and many other interesting special effects. Furthermore, only a flash with automation can protect us (and even that is not always) from the "red-eye" effect, unlike the useless LED diodes sometimes installed in cameras. But remember, wherever possible, do not use a flash that can ruin every photo by flattening it and casting ugly shadows.

Photographic Films

When we pick up our photos from the service point, we often find that the photos turned out better or worse than last time. If we buy films from different manufacturers, we may mistakenly associate the quality of our photos with the brand of the last film purchased, rather than with the exposure conditions, and least of all with the fact that the service point had many customers at the time and there wasn`t enough time for meticulousness. Nowadays, there are no films so bad that they could be the sole reason for poor photo quality. More often, the fault lies not with the brand but with the film`s sensitivity being inadequate for the given conditions. Therefore, it is generally better to buy a higher sensitivity film from a cheaper company than the opposite. Purchasing Professional or high-resolution films by someone with a cheap camera is unnecessary extravagance.


After picking up our photos from the service point, it is also worth setting aside the unsuccessful shots and analyzing them alongside the corresponding negatives. Due to the small frame size of the film, a special viewer or, at least, a regular magnifying glass will definitely be useful. We should try to identify the type and source of the error; for example, a white spot on the negative may turn out to be our finger or a strap from the camera case, etc. However, if a series of photos taken in the same place and time appear similar on the negative but show noticeable quality differences on the prints, the fault may lie with the service point.

Photographic Papers

When using a service point, we usually do not have a choice of photographic paper type. However, it is worth asking the staff before submitting the film what type of paper they currently use for prints, which brand it is from, and what surface texture it has. Of course, in points of branded companies like KODAK, prints will only be made on materials from that company, but the customer is often not informed whether the photos will be on glossy or semi-matte paper.

This seemingly insignificant detail can sometimes spoil the joy of successful photos if someone prefers a specific type. It is sometimes worth waiting 1-2 days until the materials are changed at a particular point or choosing a different one. Moreover, in some combinations of Japanese materials such as FUJI, NIPPON, KONICA (films) and KODAK or AGFA (paper), excessive contrast in prints or a characteristic color dominance may occur. Generally speaking, while not required and sometimes difficult, we should try to ensure that the film and paper manufacturers are the same.

Framing - Before You Click "Snap"

When making photographic prints independently, we have the opportunity (through enlarging) to choose what from the entire film frame will be included in the print. The service point unfortunately does not engage in such things and enlarges the whole frame (after cutting a small margin). We must keep this in mind when taking the photo.

A common mistake among photographers is placing the most important point of the photo, such as a face, in the center of the camera`s viewfinder. This often results in losing valuable details of the important subject in favor of an uninteresting background.

We should also pay attention to the fact that the aspect ratio of the frame, i.e., 36 x 24 mm and the dimensions of the photo (usually) 13 x 9 cm, do not match, and a certain part of the photo (about 0.5-1 cm) in length, either top or bottom, will be cut off during the enlargement process. A good test is also to check what area of photography our viewfinder sees and what the film frame actually "sees." To do this, we should open the back of the camera and place a matte glass in place of the film or, as a last resort, a piece of technical tracing paper or parchment. Next, we open the camera shutter to the so-called "B" setting (if such a setting is possible) and observe the inverted image on the ground glass and in the viewfinder. This test will surely clarify a lot and help us better frame, for example, a group photo in the future.

In conclusion, I wish all amateur photographers successful and satisfying photos and encourage contact with anyone with similar interests.