Readers of our travel blog saw that our trip to my mother’s hometown in Missouri to witness and photograph the total eclipse of the sun of August 21, 2017 was a complete success.
Photographically, the challenge for me was exposure. I’d never even seen a total eclipse before, and could only guess. The solar corona, an aura of energetic plasma that represents the most visible and photographable attraction of an eclipse, is as much as a million times dimmer than the photosphere of the sun. The internet was little help for numbers on this exposure, which surprised and annoyed me.
For this eclipse, the best exposure was f/8, 1/80th of a second at ISO 640.
I used my Nikkor 400mm f/3.5 coupled with its well-matched TC-14 1.4x teleconverter to make a 560mm f/4.5, which I stopped down to f/8 for maximum sharpness and to tame this lens’s slight inclination toward chromatic aberrations. This lens is from the era before autofocus, but was build at a time when quality construction and expensive materials made a photographic instrument of unchallenged capability. In its day, sports photographers often thought and dreamed of little else than this “sweet piece of glass.”
I got my 400mm in 1997 from the long-defunct Photo-Fax.com, a service that catered to us, we who wanted to pay discount prices for top-dollar gear. It’s the longest lens I own.
With the teleconverter, the 560mm focal length was beginning to be long enough to fill the frame with the moon blocking the sun, showing the solar corona…
If you were building an eclipse camera on a budget from scratch, I might consider one of the new Sigma or Tamron 150-600mm lenses. Both companies make 1.4x teleconverters, which makes the 600mm into 840mm, but also robs the lens of a full f/stop of light. (Do the math: f/number = focal length ÷ aperture diameter.) Shooting at f/8.8 results in shutter speeds duing totality of 1/10 at medium ISOs. It’s also worth considering that most telephoto lenses aren’t incredibly sharp at full aperture, and the situation gets complicated.
It probably goes without saying that a sturdy tripod is a must.
Alternatively, you could opt for renting a super telephoto. You can get a Nikkor 800mm f/5.6 AF-S for a weekend for $400 or so.
Don’t bother with the super-cheap 500mm catadioptric (mirror) lenses. They really are junk.
Finally, there are many fine astronomical telescopes with camera adaptors that will do the trick, but their prices are also astronomical.
In less than seven years, another total eclipse will cross the United States, and the path of totality will be even closer to home than this one. On April 8, 2024, Abby and I hope to be in the vicinity of Idabel, Oklahoma, just 148 miles from our home. With the experience I gained from this time, I will plan to expand my goals to include more cameras, more lenses, and more photographic schemes, and hopefully take the next eclipse to the next level.
The first total solar eclipse to cross the continental Unites States in many years is just six days away, and along with half the country, my wife Abby and I are preparing to photograph it.
When I first discovered this event, five years ago, I wrote a blog post called Assignment: Team Blackout. It was my feeling that Abby and I and a few friends and/or fellow photographers would make a two-day trip of it, and it would be fun and easy.
As those five years have passed, and especially in the last few weeks, I am having misgivings about the whole idea, since it is starting to be reported that everyone and their dogs (and our dogs) will be mass-migrating to a spot under the path of totality to witness and photograph this event.
I was excited, but now I am just stressed. I have a mental image of Abby and me sitting in the truck on I-44, without moving for five hours, because the highway system is totally overwhelmed by the flood of dilettantes and dabblers, and not only will we miss the event, it will be boring and miserable.
That’s a worst-case scenario, of course. It is based partly on the fact that a Quality Inn already sold a reservation out from under us, one we made months ago. It also takes into account media frenzy that loves to froth at the mouth in advance of a disaster.
My photographic plan is fairly straightforward. I am relatively uninterested in photographing the crescent photosphere. Of main interest to me is the stellar corona visible during totality, the beautiful but faint, airy, high-temperature aura of plasma that is only visible during an eclipse or with expensive masking instruments. A second-tier item would be Bailey’s beads, which is the sun diffracted around mountains and valleys on the lunar surface, and the “diamond ring” effect just as the sun disappears behind the moon.
It is never safe to look directly at the sun, even with sunglasses, and should only be attempted with ISO certified “eclipse glasses.”
If it’s cloudy where we are, I will be disappointed, although my sister, who hopes to join us along with her husband, pointed out, day will still become night and it will remain an experience to remember.
I am in the middle of one of the busiest times of the year: back to school. This involves, among many other things, putting together our newspaper’s football preview section. The photography, of course, falls almost entirely on me, and involves making hundreds of images, from player headshots to team photos to features of our “players to watch.”
One of my best strategies in these crazy busy August days is to stay as much caught up with my editing as I can. As I speak, I’ve shot four football media days and one softball media day, all on top of my regular schedule, and I have edited and submitted every image. No one ever waits on Richard at my office.
This “best practice” applies to all photographers. Unedited images sitting in your camera or on a computer hard drive somewhere might as well not even exist. No one likes to wait, and editors and clients hate waiting for their pictures. Don’t believe me? Wait a month before you start to edit a wedding you shot, and enjoy the constant phalanx of phone calls and emails. “Where are our pictures?!?”
Another reason this is a best practice is that staying ahead of the ball lets you stay better organized, both mechanically and in your head. I have seen students and fellow photographers browse through thousands of images on the backs of their cameras, on their phones, or, and this is the worst, one media card after another, trying to find just one image in a sea of images. Here’s a tip. You can’t find “Johnson Wedding 2016” in your camera or on your phone, but I found “Reeves-Milligan Wedding” in just a few seconds on my laptop. I just opened a search and typed the words.
If this kind of organization isn’t your thing, it might be worth considering hiring someone to do it for you – an office manager or editing partner. Most of the complaints I hear and read about photographers are about timeliness and organization. And nothing can sour your reputation like angering your customers.
A friend of mine, who I regard as a very talented photographer, recently asked me for some advice about photographing the American West. Among her destinations was Mesa Arch, a beautiful, easy-to-reach attraction at Canyonlands National Park in Utah, which I have visited many times.
I told her that this feature is classically photographed in the morning, since the sun rises in the opening of the arch, with a beautiful canyon below and mountains in the distance. The light strikes to red wall of the canyon below and causes the underside of the feature to take on deep red hues.
The only drawback, I told her, is that it’s been “discovered,” so she should expect to see a large number of photographers there at sunrise.
“I really want to see Mesa Arch, but I hate the idea of a lot of photographers because I will feel inferior,” she replied.
Years ago I wrote a piece about how I can sometimes be tempted to get outside my game when I am in the presence of other professional photographers. I’m sure this is true for other professions as well, and why conferences and think tanks are useful for showing us way of doing things we might not see.
The other side of that, of course, is that we don’t want to let the herd mentality take us to what I like to call the “force op,” or forced photo opportunity, in which you let other photographers define you creatively.
But there is a little trick that will help relieve you of the burden of feeling competitive with other photographers. Now that digital imaging has taken some of the mystery, and particularly the surprise, out of photography, all we have to do is stand behind someone and look at their monitor to see what kinds of images they are making. Often, even most of the time, I am surprised and discouraged by how badly photographers are composing their pictures. “Why is this guy even here with his $10,000 worth of equipment,” I ask myself, “when he can’t compose his way out of a wet paper sack?”
Also, don’t let anyone’s equipment intimidate you, and even more importantly, don’t let them talk about their equipment to you. If they do, it will be all they talk about, and they will have nothing interesting to say about the art of photography.
Ultimately photography should be about expressing ourselves and sharing our vision of our lives and our worlds, not worrying about how we look when we’re making our images or what others might think about our equipment or skills. When it comes to comparisons, it is certainly worth looking at the work of others, but not with the purpose of copying it. I should serve as inspiration.
Everyone takes pictures now. The only genuine value in them is your vision.
My young friend Mackenzee Crosby was just accepted to Oklahoma University and intends to go to journalism school. These events left me reminiscing about my own experiences at OU in the early 1980s.
My educational experiences as an instructor have reenforced what I have always believed, that education is very learner-defined, meaning that it depends very much on how motivated the student is to absorb what the instructor is offering.
College, by extension, isn’t as valuable as it could be because many people get through it just to get through it. On the occasions when I taught college, students were all over the place: lazy, excited, cynical, fun, bored, motivated, selfish, ambitious.
I will add that as the years have passed, a college degree is worth less. For a while the mantra was “you need a master’s degree,” and now it is, “you need a doctorate.”
In any case, I learned very little of my actual tradecraft from classes I took. The overwhelming majority of my skills came from my motivation to be a journalist: shooting, working in the darkroom, getting published in the yearbook and the student newspaper, and getting work from various media. I couldn’t wait until a journalism class was over so I could go do some journalism.
I had in mind during my college years that yearbook and magazine represented better quality than newspaper, so much of the time, I tried to get the sharpest and finest quality from my work, and preferred to sell it to glossy publications instead of dailies. Having been a newspaper intern in the summers of 1982 and 1983, I knew that newspaper photography was, as a fellow photographer said to me at the time, “meatball photography.”
I got to know several of my fellow student photographers well, but none more than Scott AndersEn and Robert Stinson, who remain close friends and respected fellow photographers to this day.
My film of choice was usually Kodak Tri-X rated at about ISO 250, souped in Kodak Microdol-X, using the 1:3 dilution, 75 degrees for 13 minutes, thought at the time to produce better grain and sharpness. I experimented with all kinds of products, but came back to those again and again.
I had three camera bodies, a Nikon FM, which I bought in January 1982, a Nikon FM2, which I got in 1983, and a Nikon FE2, bought in 1984 when a friend suggested it instead of another FM2. All of them had the MD-12 motor drive.
I had four lenses in my basic bag through college, a 28mm f/2.8 Nikkor, a 50mm f/1.2 Nikkor, a 105mm f/2.5 Nikkor, and a 200mm f/4 Nikkor. The 105mm was my go-to favorite, since it was sharp, light, bright, and easy to use. Near the end of my college life I got a 55mm f/2.8 Micro-Nikkor.
I used the darkroom in Copeland Hall, which was shared by newspaper and yearbook students, and which was often quite a mess. Most photographers and dilettantes never understood that the chemicals – developer, fixer, stop bath, wetting agent – were anything other than water, and tended to spill them, contaminate them, use them up and not replace them. I became the de facto manager of the darkroom, and cleaned it all the time.
I had a crush on at least four of our Sooner Yearbook staffers, but no one on the Oklahoma Daily staff. I never dated any of them, though I certainly tried, and was mostly alone for my time in college.
I used all my own darkroom gear, including tanks, reels, and chemicals, since I could almost guarantee the other photographers would compromise the supplies in the darkroom. During finals week in an art class in 1983, I souped some slide film in the chemistry they provided, which had been contaminated, and which ruined my film, forcing an urgent reshoot.
Once, when I was walking home with my backpack stuffed with photo gear, I heard some frat turds yelling at me, “Hey, nurd!” Yeah, frat guys in college: a topic for another day.
At one point I dropped by The Tulsa World and showed some of my stuff to the managing editor, who kept asking, “You’re a student?”
In the fall of 1985, I got a call from The Shawnee News-Star, and started my career as a news photographer.
My newspaper and I recently covered the Ada Lady Cougars area and state tournament basketball playoffs and the Latta Panthers drive to the state basketball championship game in Oklahoma City. I remember quite vividly as I was working the most important aspects of these events, their dramatic climaxes, that I was only thinking about one thing: how to get the moment.
I wasn’t thinking about shutter speeds or apertures or pixel counts or how to set exposure compensation. All those things were happening in the background of my mind. In the foreground were the faces I’d photographed all season long, and the people behind them who were experiencing the best or worst days of their young lives.
My point is, of course, that we need to be prepared. Plan plan plan. And don’t just plan to have the right gear in your hands, plan to be in the right place. Plan to be comfortable with your exposure settings and white balance settings and ISO settings long before the moment starts.
If it’s 13 seconds before the end of the game and your team is either about to leap into a dog pile or bury their faces in their towels to hide their tears, and you are trying to decide if aperture priority is better than shutter priority, you aren’t ready.
Now is the time to get ready. If your tenth grade daughter is slated to start for the softball team in September, now is the time to go to softball field and shoot, then sit at home and realize everything you did right and everything you did wrong, and decide now how to fix it.
When you are comfortable rolling in +0.7 exposure compensation without really looking, based only on a glance at the monitor… when you are comfortable switching from the camera with the wide angle on it to the camera with the telephoto on it… when you are ready to imagine what is going on in the hearts of the winners and losers of those games instead of what’s going on inside yours, you might be ready.
For the first 16 years of my career as a photojournalist, starting with my first newspaper internship in Lawton, Oklahoma, in 1982, my craft was entirely mechanical and analog. I made pictures exclusively on photographic film, and printed them on photographic paper using a darkroom, an enlarger, and processing chemistry of various kinds.
A dominant part of this process for the newspaper industry was the Kodak Ektamatic print processor. Designed to be a very quick way to make prints, the Ektamatic processor used activator and stabilizer instead of developer and fixer. Instead of a properly fixed and washed black-and-white print, it produced a damp, ready to use, supposedly temporary print in just eight seconds.
Anyone who used one of these, and most of us did, remembers one thing about these prints more than anything else: the smell. The stabilizer used a potent mixture of acetic and boric acids to rapidly neutralize the developer and make the image temporarily light safe. It was a vinegar-like smell, only somehow sharper.
Cleaning this processor involved taking it apart and scrubbing the rollers, then adding fresh chemicals using bottles that sat upside down on top of the machine so they could refill the trays using valves that screwed onto the bottles. It needed to be cleaned a couple of times a week, but I can tell from my prints when I waited five or six days because there are streaks on the prints.
My analog craft tapered off somewhat after September 1998, when my company bought a Nikon LS-2000 film scanner and an Apple PowerMac G3 computer to run it. I still processed film, but instead of printing it with an enlarger, I scanned the negatives and saved the files on a service for the newsroom to use.
I cite this transition as part of the impetus for one of my earliest photographic trips to the desert, Villanueva.
Reviewing these images started late last year when my coworker LeaAnn Wells was looking for an old newspaper in the storage are we call the “morgue.” It’s a smallish room, and had filled with so much clutter that when LeaAnn tried to stand on something to reach papers on a high shelf, she almost came crashing down. She and I vowed to clean up the place, which was filled with, for example, 300 copies of the 2006 football preview section, where we really only need about five copies.
Knowing that if everyone is in charge, no one is in charge, I took point in this cleanup effort, and have thrown away maybe a ton of worthless duplicates of newspapers, dust mites, rat turds, and even 50 bags of cooking show coupons and free chicken broth.
In the midst of all this, I found, near the bottom of the piles, a huge box full of my own Ektamatic prints from many years ago, and decided to try to get them in some order and preserve them.
Making Me Look Bad...
One thing I despised was being caught between management urging me to use less material and editorial demanding I use more. Publishers and accountants would tell me something like, “We used too much film and paper last month. Try to use less.” Which I would. Then editors would say something like, “Why can’t I get more shots from this?” or “Why are you printing this so small?”
One thing I was able to affirm by looking through these thousands of images is that I was good. It’s easy for me to forget that I have done solid work for my entire career, particularly during periods when I wasn’t appreciated by management. But I look through these slicks and see that I shot well year after year after year.
With the recent addition of the handsome AF-S Nikkor 50mm f/1.4 to my bag, I noted that this new lens features an aperture with nine rounded blades, unlike its predecessor, the AF Nikkor 50mm f/1.8D, which has seven straight aperture blades. The reason this matters to me is that I like to use sunstars in some of my imagery to create the impression of brightness in light sources.
To test the sunstar capabilities of the new 50mm, I grabbed some Christmas lights from the rafters in the garage. With my camera on a tripod so everything would be the same except the lens, I shot some test images, all at f/16 at about 1 second, and made a direct comparison between the new f/1.4 and the older f/1.8.
Readers might recall the formula for sunstars: even-numbered aperture blades make sunstars points of that number, while odd-numbered aperture blades make sunstar points equal to twice the number of aperture blades…
I was quite pleased with the result. In recent years, rounded aperture blades have become increasingly common in an effort to give lenses the ability to create more pleasing out-of-focus areas, but this often sacrifices the crisp sunstar effect I love. But I found that while the effect using the 50mm f/1.4 wasn’t quite as dazzling as it was with the f/1.8, it still expressed the feeling of brightness.
While I had everything set up for sunstars, I thought I would experiment with a funny little do-it-yourself trick that can sometimes be useful: shaping your out-of-focus areas. It’s easy to do, but it’s also easy to screw up. In its simplest iteration, you cut a small shape into an opaque object and fit it to the front of your lens.
I used aluminum foil for my experiment, but it made the bokeh a bit too edgy. There are kits available, but part of the fun for me is doing it with household items. This was shot at the largest aperture setting available, in this case f/1.8…
We all want to make amazing images, and we all see amazing images we admire every day. Often we think, “I saw something just like that the other day and tried to photograph it, but my pictures were nothing like that one. What am I doing wrong?”
Often the answer is a nebulous collection of visionary perspective and technical knowledge, with all imagery consisting but one thing: light.
A few years ago, lensmaker Sigma, faced with combating a reputation for poor quality control that resulted in inconsistent products, reorganized and upped their game by introducing their “Art” series of lenses. Bigger, heavier, more expensive, and better built than anything Sigma ever created before, these lenses are aimed at photographers who want the best image quality from larger-maximum-aperture lenses, and who are willing to deal with physically huge and heavy glass. Examples of this line are their 18-35mm f/1.8 Art, 35mm f/1.4 Art, 50mm f/1.4 Art, 24-105mm f/4 Art, and so on.
Primed for Primes
It’s no secret: I love”prime” lenses, which are defined as non-zoom lenses, usually featuring larger maximum apertures than zoom lenses, and which are usually lighter, smaller, and more affordable than their zooming brethren. Much of the time when I can choose between a zoom or a prime, I choose the prime. Though slightly less versatile than zooms, I spent the first part of my career shooting with nothing but primes (since zooms weren’t all that great then), and I am quite comfortable selecting a lens and then “zooming with my feet.”
I have only seen one “Art” series lens, bought by a student of mine last year.
As the popularity of these lenses rose, so did the idea that “Art” was a class, not a brand, of lens, and that we artists wanted one. But removed from its brand, was an “Art” lens really meant to be “the best,” without context, or is the “Art” something more, something etherial, something even magical?
In a conversation with fellow photograph Robert recently, he asked me, “Aren’t all lenses ‘art’ lenses?”
I speculated that lenses followed an evolution the same way culture did, with a growing interest in technology and capacity, while leaving behind some of the things we loved: older lenses, for example, are generally softer at the edges of the frame (often due to an aberration called spherical aberration, which results in the focus plane of a lens being curved slightly), and most computer-designed lenses have either gotten better at preventing that, or, in the case of cheap ones, hide these sometimes-flattering aberrations beneath other, more garish, problems like distortion and chromatic aberration.
So, I thought, maybe Sigma’s “Art” lenses are designed to bring back some of that old-lens look.
In actuality, Robert is right: all lenses are “Art” lenses because art isn’t a function of equipment or technology, but of the heart and mind.
Sigma’s “Art” series are, in simplest terms, a high-quality product intended to turn around a company struggling with quality-control issues, as well as a big, heavy tool in the toolbox. They are certainly capable of producing art in the hands of an artist.
Just because some loudmouth Millennial rolls his eyes and dismissively says, “That’s the oldest trick in the book!” (with an implied “old man!”), doesn’t mean it’s not a good trick. I used one of the oldest tricks in my lexicon recently in class: the hair shake. This works well with people who have long hair that is looking too stiff. Have the subject/model throw their head forward and shake their hair, then quickly sit up, letting their hair fly back. Nine times out of ten it will result in their hair looking wild, free, fun, beautiful. Don’t let them touch it – it will feel strange to your model because they never comb or brush it that way, but it will look amazing.
Years ago I was on the sideline at a Stratford, Oklahoma football game with a photographer buddy of mine, Matthew White. Despite the fact that he was just tagging along and wasn’t shooting the game for any agency or even for himself, he couldn’t help himself, and shot it just as thought it was his job.
I turned to him and said, “You can’t turn it off, can you?” I knew he couldn’t because I can’t. No photographer can. It’s not just what we do when we’re clocked in or on a job, it’s who we are.
No one, I think, knows this better than Robert, who has a full-time non-photography job, yet remains a photographer every minute of the day. It shows in his work, which I was showing my wife Abby the other day to a constant litany of “wow” and “that’s incredible” and “these are amazing.”
I thought of this when Abby and I recently travelled to Rolla, Missouri, to buy a new puppy. I wasn’t supposed to be a photographer on this overnight trip, but of course, I couldn’t turn it off. In spite of being the puppy chauffeur, I also took great interest in things like the silhouettes of the state of Will Rogers on the turnpike, the dilapidated Totem Pole gift shop next to our motel, and, of course, photographing the new dog.
It is this willingness to be the photographer all the time that sets us apart from the incessant visual chatter of the 10,000-selfies crowd. Instead of “hey, how about a picture?” we are always looking at the light, the textures, the lines, and the shadows, to try to decide how to express something.
That’s the key thought of this post, I believe: the selfie makers are trying to impress someone, and the photographers are trying to express something.
Periodically my photographer friends and I will talk about how much we miss film, particularly how much we miss certain cameras and lenses. Wouldn’t it be neat, we speculate, to get back into shooting film, if we only had a camera.
But, of course, film cameras are still around. I’ve got one in my hand as I write this.
I pulled the Pentax K1000 out of the display case in the entryway at our office. This camera is one of the most basic, simple, easy-to-use cameras ever. Its simplicity made it popular with photography teachers, since the camera is entirely manual, and required students to learn how to do everything.
I could shoot film right now if I wanted to, but the truth is, digital photography is overwhelmingly popular because it is overwhelmingly better than film. That wasn’t the case 15 years ago, but today, digital imaging technology has surpassed film tech in all respects.
So despite the fact that I have this perfectly-workable Pentax, I have no desire or intention to try to buy film, shoot it, and have it processed somewhere, then either print it or have it scanned.
We photographers are happy in our digital world, and despite Jonesing for the old days, we live in the new world of photography.
I have another Intro to Digital Photography class starting Monday, and I always get a little buzzed about it in advance. I think about arriving, writing my name and website on the dry erase board, looking around. I see people look up at me in anticipation, some of them with questions on the tips of their tongues.
Their cameras are old and new, expensive and austere, well-used and right out of the box. (Sometimes they are still in the box.)
Their experiences are as diverse as their cameras. Maybe they got that camera for Christmas. Maybe they shot film years ago and are just now deciding to enter the digital age. Maybe they have kids who they want to photograph. Maybe they want to make extra money with their cameras. Maybe their bosses want them to shoot photos for the business.
One thing they will have in common: they want to learn.
The Intro classes are nuts and bolts. How often should you charge the battery? What kind of media card do I need for video? What’s the best lens for shooting seniors and babies?
One of my goals in the Intro class is to take the magic and mystery out of photography, to let all my students that it doesn’t take a $10,000 camera, and it isn’t rocket science. Photography is fun, powerful, and exciting. You can do this. You can make beautiful pictures.
The film era of photography, which despite the epic surge of digital is the largest era of imaging, was filled with institutions. Kodak. The Brooks Institute. Winona School of Photography. They are all gone now, relics of both a bygone era and their lack of vision for the future. They were all part of a mentality that a professional photographer was like a doctor or a lawyer: someone with special training and knowledge who could do things with film, chemistry, and printing that others could not.
Then, digital. Affordable digital photography meant that many of the mysteries and specialties of photography disappeared. There is still some tech to it, but most of the things about photography that were out of reach for the average person – a darkroom, and enlarger, some knowledge of chemistry – are arcane.
More significantly than all that, though, is cost. Once we have a device or two in our hands – a digital SLR and a smart phone, typically – there are no additional costs. No film. No processing. No printing. No photo albums. The hobby of photography is, to a degree, free where it used to be expensive.
This giant paradigm shift led to a perception shift, an illusory one, one represented by the piano paradox: what kind of piano should I buy so I can play like Chopin? We see this paradox invading many other areas of our lives: preppers buy expensive sights for their rifles and think they can shoot like Navy SEALS. Soccer moms buy expensive kitchen accessories and think they can cook like Wolfgang Puck. Joggers buy expensive running shoes think they can run like Usain Bolt.
The fallacy of this line of thinking is that photography is not usually about the tools used to create photographs, but about the vision of the person making the images.
In some ways, this is, at its core, about the idea that money can take the place of talent, hard work, and training, but I have said again and again: You can’t buy mastery; you have to earn it. It’s not the equipment in your hands that makes you a photographer; it’s the equipment between your ears.
So what do I recommend?
I urge you to quit reading about cameras and software and start reading about making pictures. The first book I would tell you to read is Examples: The Making of 40 Photographs by Ansel Adams. There is nothing about pixels or bokeh in it, but you can follow the process of turning a vision into an image.
When you daydream about photography, look at pictures made with cameras, not of cameras.
Stop patting yourself on the back for buying something, and start making an effort to see light and shadows, lines and motion, color and form.
I would urge you to take my class: once we have learned about our equipment, we can forget about it and learn about how images can move the human heart and change the human condition.
I would urge you to put down your phone and look up, look around, see the world in a different way.
So no, not everyone is a photographer. Everyone is taking pictures, yes, but in all the most important ways, they aren’t photographers. Their pictures are self-referential noise, and aren’t expressive in any important way.
You can make your images expressive, impressive, important. Once you open your heart and start to understand the purpose of self-expression, you can be a photographer.