Communication

It has been said a “Picture worth a thousand words.” how can I get my photos to be that chatty? Communicating should be intentional, direct, tactful, transparent, considerate and kind. How is this possible in photography? Well, let us take a look at some examples.

I was recently watching a movie based on a historic event and during the movie I was amazed to see the detail and clarity with which the director communicated the points of history as the events occurred. It drew me in and kept showing one key issue, leaving the others minor. To draw out a point in the same way it is important to ask questions and answer them with observable facts.

Here is an example of what I mean by “communication”: How does a film director communicate the difference between the camera’s view and a cast member’s point of view? This is not a question I want to answer for you, but more of a question for you to ponder, to answer and add to your skill set. I have rolled this question around in my mind for some time and I have concluded that I can find new methods to experiment with as I see other techniques used.

How can I take these principles and add them to my still photography? After the shot type is selected, planning the scene is important. Is the person looking through the camera’s field of view watching someone through a window? Is this person hiding from someone? Could there be a hand, arm or feet seen in the shot from whose perspective the camera captures the scene?

This is a wise open realm to be explored. Not every attempt has to be perfect and you can certainly learn from your own photographs as well as you can from another’s, so enjoy and get some experience!

Camera Troubles – Part 6

What can I see that my camera does not?

There is not an easy way to answer this question, although I will say to say that our visual capability can not be directly and equally compared to the output of film or digital cameras.

Our sight is taken in motion whereas photographs are still images possibly showing movement by blur or subtle indications of motion. So while we may remember a certain pose, facial expression or scenery of a person or place we appreciate as if the memory were a still photograph does not mean our Eye and Brain receives these memories in just such a way.

Video recorders are truly much like cameras in this way that they capture motion or movement in 72 still frames a second or more. A video recorder more closely resembles our vision in that it records motion in so many frames.

Beyond multiple frames to give the illusion of complete motion, our vision is affected by the ability to change so quickly between seeing detail in the shadows from previously inspecting the details lit by broad daylight.

From observing myself and questioning what I see and how I see it, I believe now to better understand the difference of what I see and how I can operate my camera to photograph a scene as I see it.

I see: the bright sunlight streaming through the ceiling of tree leaves, illuminating the grass and garden floor in a brilliant array of color. As I continue to observe and breathe in the wonder of the contrast and illuminated detail, I begin to notice more detail which remained hidden until I had gotten close enough to notice for the first time.

This is done in photography in several ways. Let me begin with the best and quickest being the first.

  1. Simplicity – Photography studios will set-up the portrait studio with solid color backdrop and lighting to evenly light the subject while still allowing some shadow to remain but lighting enough to see detail in both shadowed and lit areas. This is the effect of many additional flashes.
  2. Specific detail – Scenery which cannot be reproduced or moved in-studio must be shot as is. This requires additional flashes or shooting 3 or more photos  from the same place and position of varying shutter lengths and putting them together in HDR format. (For more on HDR, please see our blog posts “High Dynamic Range” and “The Make-up Of An HDR Photo“.)

So it is not that our cameras cannot reproduce something similar to what we see, but that we have some understanding of how we can enable it to see. There are no quick and simple steps to follow for every camera to shoot fantastic photos. I wish there were! Though if this were the case I believe we would have lost some of the adventure in photography.

It can be this simple though, to know that the camera does not as quickly adjust its Lens Diaphragm and Sensor to see detail in shadow and light as do our Iris and Retina. Thus we seek to separate detail we want captured per photo by the varying amounts of light in its surroundings.

Photography truly is an amazing art. The amazement is not intrinsic to itself, but because it is base off of our visual ability which we are blessed to have received from the kind Providence who created us and the world we love to photograph.

Thank you for reading! I pray you have learned and enjoyed reading as much as I have in writing!

“Beef-ing” it up.

As a photographer there are many moments when a prospective contractor is looking through my portfolio and I see each photo they inspect wishing that they would move on to  the photos which in my opinion are better. Yet they linger over the photos that I consider “the worst” of the lot and they still ask me to participate in their events as a photographer. Why is this the case?

I have found in many cases (not all cases, by any stretch of the imagination) that capturing only the intended object perfectly is not the desire of the event coordinator.

So what do they and other viewers see in my worst photos? That is a good question to ask when people comment on a photo. For instance, you can ask “What drew you to the photo”, or “Why do you like this photo the best out of the rest of them?” Of course it is always polite to ask them permission to ask these questions so as not to embarrass them or imply the wrong message by your question.

Let me use an example from personal experience to make the point a little bit more clear. 

The photo inserted on the left was a quick snap shot taken while I was on vacation. As I began to focus and was once again reminded of my camera’s perspective of the world I readjusted my imagination to fit what the camera could see.

By readjusting I was adding interest to the photo by allowing some “white space” and an un-harvested field to contrast the cut fields seen in the vehicle’s side view mirror. This is very important to remember, when photographing; keep a natural amount of interest in the photo (whether that means taking a different perspective to leave things out of the shot, or to bring things into the shot, being posed or candid).

This is not to say that all photos do not have some inherited interest, but some may need more or less interest than others. I hope you have fun playing with interest and it serves you well in your next photo opportunities!