Walk with me as I make photos.
Today I’m looking at how to make better exposures.
Photography is often a solitary act. There’s a quiet joy in wandering alone, camera in hand, letting the world unfold without anyone altering your thought process or pausing your rhythm. But lately, during our monthly photo walks in Melbourne, I’ve noticed something else: sometimes, just sometimes, sharing that moment with another person adds a richness you can’t get alone. Ideas bounce off each other, observations are exchanged in real time, and suddenly the act of making photographs becomes a conversation with the world – and with someone who sees it differently.
So I invite you to walk with me through the George Tindale Memorial Gardens in Sherbrooke, as I finish half a roll of Ilford FP4+. Half a roll is unusual for me – normally I shoot a full roll – but today called for a different approach.
Oi, if you don't want to read the blog, I made a video, just for you!
Finding perfect exposure
The first photograph I made was of a sculpture, and my goal was to separate it from the background. I found that not just through a shallow depth of field, but by placing the artwork in front of a darker backdrop. Cloudy days are my favourite: the light is soft, forgiving, yet still full of dimension. To the right of the sculpture, there were no trees; to the left, plenty. The varying light readings created depth that I could work with.
How to make better exposures?
Spinning around, I caught a glimpse of a tree – I’m not sure of the species, maybe an Ulmus Glabra – but I knew instantly it deserved attention. I barely checked my exposures; having photographed nearby, I trusted my instincts. F2.8 at 1/500th at the top, one stop lower in the mid-tones. Framing it squarely in the centre, because sometimes, symmetry is exactly what the shot wants, I made a portrait of a tree.
Not everything works the first time. My next attempt fell apart: the light moved too quickly, the scene shifted, and film doesn’t forgive hesitation. I tried, I failed, and that’s part of the process.
Why I shoot in Manual Mode
A few steps later, I stumbled upon a hidden scene; overgrown, almost forgotten, with just hints of life remaining. Moments like this remind me why I shoot in full manual mode: the ability to read light, anticipate exposure, and engage with the scene on my terms. A quick Sekonic 308x reading confirmed my guess: F2.8 at 1/125th on FP4+.
I’ve been experimenting with video, too, talking through my process as I shoot. It’s slowing me down in a good way, making me articulate why I choose one frame over another. But I still love photographing just for the act itself, without distraction. That’s why I made one shot twice; the first time I forgot to record video and I’m not going to run to Ai to re-make it.
That's a nice boulder...
With my final frame, I returned to a boulder near the front gate. Every photograph, I remind myself, is both a portrait of the subject and a reflection of how I see the world: a self portrait.
The filtered light danced across the rock’s surface, highlights bright but shadows deep. I wanted separation from the background but a lil more depth, too, so I stopped down to F5.6. Slightly overexposing gave me room in the shadows for printing later – a deliberate choice, a moment of patience rewarded.
If there’s one idea I hope you take away from this, it’s that time is your friend. Observing, waiting, considering; this is how we make better exposures and more intentional photographs. Look beyond the main subject; notice the background, the light, the texture.
Choose a small number of frames, and make each one matter.
For Melbourne photographers just starting out, slowing down like this might feel strange at first. That’s why our 4-week beginners photography course exists. To guide you through seeing light, framing, and exposure in a hands-on way, with a community of curious photographers walking beside you.
Even a single afternoon spent thoughtfully making photographs can transform how you see the world, one frame at a time.