Tag: artistic expression

Photography Philosophy – Part V – Identity and Self-Expression

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Photography as a Reflection of Self

What could be a more contemporary expression of self than the modern selfie? For some, it represents a genuine connection, while for others, it becomes a carefully curated fantasy shared on Instagram in pursuit of self-importance—think #lifestyle, #ootd, or #memyselfandI. These representations can evoke mixed feelings about the authenticity of self-expression.

However, this is not how I view photography as a reflection of self. Photography is the only art form that allows the viewer to look through the lens just as I did when I pressed the shutter button. You see exactly what I saw in that moment, and, depending on how I edited the photo, you may catch a glimpse of the emotions swirling in my mind at that time.

Consider two people facing each other, a coin held up between them. One sees the heads side, while the other sees the tails. Each perspective offers only a partial view of the whole object, much like how each photograph can convey different meanings and emotions depending on the viewer’s interpretation. This highlights the importance of taking in the entire picture.  But it’s not just this perspective that changes the way each individual looks at the coin, but all the personality and life experience that the person brings.

So, what about the expression of my identity and worldview? You might detect my state of mind through the subject matter of the photograph. If you see one of my photos taken during the anti-government demonstrations in Nantes, you might draw conclusions about my political leanings, when in reality, I was completely neutral about the situation. Here, the viewer adds their own interpretation to what they see, imagining this world and identifying with the picture in a way that is relevant to them.  I think we all are guilty of that.  My worldview, too, may show through—an insight into the world around me and how I choose to see and document it, since you are witnessing a moment in time as I saw it.

But why press the shutter button at a particular moment and not 1 second before, or 1 second after?  Cartier Bresson talked about capturing the decisive moment.  I try and make sure that I have no distracting elements.  I try and get my subject right where I want them, or wait for them to cross the scene at a certain spot.  Does this mean that I miss shots?  Yes, but it’s all part of the game!  Have I become a self-hating perfectionist?  Fortunately, no.  But do I try and make that extra effort?  Definitely.  I owe it to myself, but to the viewer of the resulting photo.  Some might talk about a certain professional conscience, but if you’re going to do something, then try and do your best?

Personal Growth

This is a tricky subject, as I’m not entirely certain that my subject matter has evolved as I have. Am I still taking the same old photos as I used to? Possibly. Yet there are new techniques I’ve picked up along my learning journey. I may have started learning about photography over 40 years ago, but I’ve never stopped. In the last ten years alone, I’ve learnt so much, often with YouTube as my teacher. I’ve expanded my knowledge of film—how to use it and develop it—and I’ve learnt more about editing. I might just mention that I trained in “Desktop Publishing” back in 2003. Twenty years ago… time flies! Lots of Photoshop, Illustrator, and QuarkXpress.

New equipment and different lenses have allowed me to explore wide-angle photography and, as they say, “get it out of my system.” But is it really out, or have I simply explored it enough to satisfy my curiosity for the time being? I will, no doubt, revisit it again. This exploration has clearly shaped the way I view a scene, and I now know how to use the distortion it offers as another stylistic string to my bow. Wide angles enable me to alter how the subject is seen, making a more significant impact on the viewer, who experiences something distinctly out of the ordinary. It’s a small but meaningful addition to my work that could offer that extra something to a potential client.

I’ve grown more confident in my photography over time through consistency and practice. Getting out there with your camera is, without a doubt, the way to go. Some might accuse me of relying on gear, but I feel that I’ve genuinely put the hours in to master certain aspects of this craft and to have a certain self confidence in my abilities as a photographer.

Do I take the  same photos that I did back in 1987 and now?  In certain ways, yes.  Because my personality shines through the photograph.  However back in 1987 I was concerned just about nailing the exposure, and didn’t have the knowledge and photographic culture that I do today in 2024.  I was also a 15 year old back in 1987, and am now over 50.  The essential part of who I am remains, but my life experience has changed me, as it would anyone over 35 years.

Cultural Context

You might not know this about me, but I have lived in France for the last thirty years.  More time than I lived at “home” in the UK.  Has that affected my photography in any way?    Maaaaybe…

France is the home of Cartier Bresson, and Doisneau, and their wonderfully crafted street photography.  Yes, I have explored their work and have been amazed by it, and amazed by the simplicity in certain shots of theirs, but a deceptive simplicity that takes so much time to emulate.  So yes, I have been influenced by French culture. It forms the way I look at the world around me, especially when in the streets of Nantes and I feel their influence accompanying me as I wander around the streets.  It’s also the subject matter that changes from country to country.  Just look at the difference between my two countries, the UK and France.  

But it doesn’t stop there.  I have been influenced by photographers that I see on the Internet.  Names like Sean Tucker, Thomas Heaton, James Popsys, Mango Street, Peter McKinnon, and Jamie Windsor spring to mind and their videos have certainly been a huge influence on me.  And there’s not even one Frenchman in that short list…  It’s not that I reject French youtubers, but when at work I have to make the effort to speak French, when I am outside my house I have to make the effort to speak French, aso when at home I prefer to keep things in my mother tongue.  It’s a me problem, and not a them problem.

Conclusion: The Lens of Self-Reflection

Photography, at its core, is about more than just taking pictures; it’s about capturing fragments of identity and moments of personal evolution. While the images we create may reflect the world around us, they also tell the story of how we see ourselves and the ever-changing lens through which we view the world.

What I’ve come to realise is that photography isn’t just a technical pursuit or a series of compositions—it’s a mirror. Through it, I’ve discovered not only the nuances of the world but the nuances within myself. From the early days of worrying over exposure to now, when the process feels more like a conversation with the scene, I have grown not just as a photographer, but as an individual.

Yet, this growth is never complete. Photography, like life, is a journey with no clear destination. The influences, the techniques, and even the subjects will continue to shift as I evolve. What remains constant is the intention: to connect, to reflect, and to capture not just an image, but a piece of time that speaks to who I am, and who I am becoming.

In the end, photography is an act of constant reinvention. Each shutter press is an opportunity to redefine the self and understand the world a little better, one image at a time.

A photography Philosophy – Part III – The Emotions of Photography

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The Connection between Emotion and Image

I’m going to tell you a story about an essay that was given to us by the music master at the beginning of my Music A level course.  There were four of us studying music, and the lessons took place in his study, much like a tutorial at university.  The title of the essay was something like describe the perfect piece of music.  

Back then I described the Glenn Miller song, Moonlight Serenade.  One of my fellow pupils described the Planets from Holst.  In the following tutorial after our essays had been marked, I was criticised since the Master thought my piece was repetitive, had no particular musical merit, and was corny.  I, on the other hand, argued that it was the way the piece made me feel.

With hindsight I should have just handed in a clean sheet of paper saying that there is no such thing as a perfect piece of music, as taste is purely subjective and that he should take his essay question and possibly reconsider his stance!  I didn’t of course.  But it certainly got me thinking, even to this day!  

Subjectivity in Art

As in any art the appreciation of the viewer is purely subjective and we have to be so careful about reading an interpretation into a given work.  There are effectively themes that are explored in literature that could be described as obvious.  But in Photography, I maintain that any connection to a particular photograph is an emotional one first, before going any deeper.  

The Essence of Emotional Connection

But what makes this emotional connection possible? And how do I go about achieving this in photography.  I’m going to harken back to my musical training.  My horn teacher in France would say, your concerto is your text.  Your job is to recite that text to the audience.    That is all you have to concentrate on.  You’ve worked through your concerto, the techniques necessary to play it, and once the sound leaves the bell of the instrument, it is no longer yours.  It belongs to the audience.  They are the ones listening and they are the ones that will form the emotional connection.

Creating Meaningful Portraits

So how do I make this connection with my audience when it comes to photography?  Well, in portraiture they say to focus on the eyes of your model.  Eyes being the entrance to the soul. If I can capture that and have my model looking directly at my camera and therefore my audience then I’m well on the way to creating a meaningful portrait.

Kate, my daughter
The Art of Street Photography

In my street photography, it can be about catching a detail that everybody sees but that nobody notices until they look at your image.  You can go to my photography tutorials and look at the composition articles to learn about how we direct the audience to a particular point in our photograph by using leading lines, the rule of thirds, and emphasising our subject with our lighting, or by isolating our subject.

The Role of Colour in Evoking Emotion

We also solicit emotion through the colors we choose. Warmer tones can infuse images with energy and happiness, while cooler tones can make them feel peaceful or introspective. For example, adding reds and oranges to a portrait can evoke warmth and approachability, while blues and greens can give a landscape a calm, reflective quality. Considering these colours “in camera” can make the entire process more intuitive, helping you set the mood before you even begin editing.

The Power of Black and White

Shooting in black and white, using only tones of light strips away the influence of colour and presents us with the “essence” of a scene, and it’s one of the reasons I love shooting in black and white, be that on film or digitally.  I aim for a timeless quality to my black and white images, and the emotion can be just as intense.  Without color, we focus on texture, shadow, and contrast—elements that can evoke nostalgia, solitude, or contemplation.

Mindfulness in the Photographic Process

What I think I’m getting at is that to evoke an emotion we need to be so mindful of our photographic process.  Sometimes taking that step backwards allows us to reflect before pressing the shutter button.

Conclusion

I don’t have all the answers of course, but in the end, capturing emotion in photography is as much about the heart as it is about the eyes behind the lens. Each photograph we create is a bridge between ourselves and our viewers—a connection forged in the moment but lasting beyond it. Just as a musician lets their notes drift into the silence, we photographers must let our images speak, leaving space for others to interpret, feel, and connect.

So, as you move forward in your own photography, remember to pause, to feel, and to let emotion guide your hand. Don’t be afraid to take a step back before pressing the shutter, and ask yourself: What do I want my viewer to feel?

I hope this reflection gives you a new perspective on how you approach your next shot. After all, photography, like any art, is a journey without fixed answers—one of constant discovery. Take time to explore, experiment, and, most importantly, to feel.

The Opening of the Film Archives – Le Hangar à Bananes July 2016

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Continuing our journey through the film archives, we find ourselves on the Île de Nantes, home to the iconic Hangar à Bananes. Let’s rewind to July 2016, when I captured this vibrant scene with my then favourite Canon AE1. Once a shipbuilding powerhouse, Nantes had cleverly repurposed its abandoned infrastructure into a bustling hub. The area is now home to the fantastical Machines de l’Île, the historic Chantiers Navals, the towering Grue Jaune, and of course, the Hangar à Bananes itself. Back then, the Hangar was a hive of activity, buzzing with picnics, impromptu barbecues, and lazy afternoons under the summer sun.

My goal was to capture that unmistakable “Summer Vibe.” As always, I started with the architecture, drawn to its striking modern lines, a refreshing departure from the stark brutalism of the 1970s. The clever use of texture and the innovative design of the apartment buildings particularly caught my eye.

That summer, the Voyage à Nantes festival had a brilliant idea: communal barbecues for everyone. Genius, right? You simply brought your food, and they provided the grills, charcoal, tables, and chairs. It might not be Texas, but the French know their way around a barbecue, and being the food lovers they are, they go beyond the usual sausages and burgers. It was a true testament to what a public space should be – a place for everyone to gather, share, and simply enjoy themselves.

Then there was the dancer. He was just filming himself with a GoPro, but the way the sunlight caught his movements and the glistening sweat on his skin was mesmerising. It was a fleeting moment, the first and only time I’ve ever photographed a dancer, but it left a lasting impression. There’s something undeniably captivating about the human body in motion.

My wanderings continued to the edge of the island, where the mighty Grue Jaune – now a “monument historique” and a symbol of Nantes – stands tall. Walking past and through this enormous yellow crane was an awe-inspiring experience.

Along the riverfront, the Anneaux de Buren, a series of massive rings, stretched out in a mesmerizing pattern. At night, they transform into a dazzling display of vibrant reds, blues, and greens – a photographer’s dream, offering endless possibilities for capturing leading lines, geometric shapes, and unique framings of the cityscape.

And of course, no photo series of mine would be complete without the obligatory bike shot. It’s a bit of a tradition for me.

Even now, in 2024, the Hangar à Bananes still exudes that same “Summer Vibe.” It remains a popular spot for after-work drinks with friends and colleagues, boasting a variety of restaurants, bars, the HAB Gallery, and the infamous “Warehouse.” While the area can get a bit dicey later at night, it’s perfectly safe and enjoyable for a daytime visit or an early evening soirée.

Instagram’s Double-Edged Legacy: A Photographer’s Perspective

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In October 2010, Kevin Systrom and Mike Krieger unleashed Instagram upon the world. With its intuitive interface and playful filters, the app revolutionised how we share photos, ushering in a new era of mobile photography. However, over time, Instagram’s trajectory has shifted dramatically, raising questions about its impact on photography, the rise of influencers, and its changing priorities. This article delves into Instagram’s complex legacy, exploring its transformative yet increasingly problematic role in modern photography.

The Rise and Fall of Photography on Instagram

In its early days, Instagram democratised photography, empowering everyday users to become amateur photographers. The app’s filters and nostalgic aesthetic resonated with users, transforming personal snapshots into artistic expressions shared with a global audience. This initial period fostered a vibrant community of photographers who connected, shared their work, and even launched careers. However, Instagram’s algorithm, initially chronological, evolved into a complex beast driven by engagement metrics. This shift, combined with the rise of influencers and the platform’s increasing emphasis on video content, has had a detrimental impact on photography.

The Instagram Algorithm: A Photographer’s Nemesis

The algorithm, shrouded in secrecy, prioritises content that generates the most likes, comments, and shares. This has led to a homogenisation of aesthetics, favouring trends and viral content over unique artistic expression. Photographers feel pressured to conform to popular styles and create content that caters to the algorithm’s whims rather than their own creative vision. Moreover, the algorithm’s preference for short-form videos, like Reels, has further marginalised photography. Photos are often buried in favour of videos, making it increasingly difficult for photographers to gain visibility and reach a wider audience. This shift has raised concerns about the devaluation of photography as an art form and the platform’s changing priorities.

The Influencer Paradox: Celebrity Without Substance

Instagram’s influencer culture, where individuals gain fame and fortune through their follower count rather than their talent or skill, has further exacerbated the problem. Many influencers prioritise self-promotion and brand endorsements over genuine artistic expression, perpetuating a cycle of superficiality and instant gratification. This culture has also created unrealistic expectations and fuelled unhealthy comparisons among users, including photographers. The pressure to maintain a perfect online persona and constantly chase likes and followers can lead to anxiety, depression, and a loss of creative autonomy.

The Future of Instagram: A Photographer’s Dilemma

As Instagram continues to prioritise short-form video content and cater to influencer culture, photographers face a difficult choice. They can either adapt to the platform’s changing landscape by creating more videos and conforming to popular trends, or they can seek out alternative platforms that prioritise photography and genuine artistic expression. The latter option, while challenging, may be more fulfilling for photographers who value their craft and refuse to compromise their artistic integrity. By exploring alternative platforms and building communities outside of Instagram, photographers can regain control of their work and connect with audiences who appreciate their unique vision.

An Alternative?

While Instagram’s focus shifts away from photography, several alternative platforms offer havens for photographers to showcase their work, connect with like-minded individuals, and foster a supportive community. VERO, for example, boasts a chronological feed, an ad-free environment, and features tailored to visual artists. 500px provides a dedicated space for professional and amateur photographers to share high-quality images, participate in contests, and even sell their work. Glass is another emerging platform designed specifically for photographers, offering a clean interface, curated collections, and a focus on long-form visual storytelling. Ello, known for its artist-centric approach, provides a space for creative expression without the pressure of algorithms or ads. These are just a few examples of the many platforms available that prioritise photography and offer a refreshing alternative to Instagram’s increasingly commercialised environment.

Conclusion: Reclaiming Photography

Instagram’s legacy in the realm of photography is undeniably complex. While it initially empowered photographers and fostered a vibrant community, its current trajectory raises serious concerns about the future of photography on the platform. Photographers must recognise that Instagram is no longer primarily a platform for photography. It has become a commercialised space dominated by short-form videos and influencer culture. To protect their artistic integrity and find meaningful engagement, photographers need to explore alternative platforms, diversify their content, and most importantly, create work that speaks to their own unique vision rather than chasing the elusive validation of the Instagram algorithm.

Prime vs Zoom Lenses: Choosing the Right Lens for Your Photography

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Good evening Dear Reader.  We’re back delving  into another series of articles where I will talk shop.  Mother, if that doesn’t interest you then consider yourself warned.  I will, as the title of this article suggests, be talking about the differences between zoom and prime lenses.  I too, many moons ago, was a beginner photographer, and just starting out with a Praktica MTL3, with a 50mm F1.8 lens, and a Helios 135mm F2.8 lens.  An SLR because in 1987 a DSLR did not exist.   This was my first lot of “gear.” That was then and this is now.  2024.  When buying a “starter” camera, “they” will try and flog you, or offer in a bundle what has become known as the ubiquitous “kit lens.”  Otherwise you will be gazing upon a “huge” array of lenses with some “huge” prices to go with them.  This will generally be included in the more “accessible” range of cameras.  It certainly was for my Fuji XT2 18-55mm zoom lens (24-70mm equivalent for full frame sensor).  Don’t get me wrong, I use my 18-55 lens on my Fuji XT2 and like using it.  BUT, when I bought that camera I bought a 24mm equivalent prime lens for it.

This raises the question about what is a prime lens and what is a zoom lens.  A prime lens is a lens that has a fixed focal length.  A zoom lens allows you to vary this focal length and “zoom” in and out.

Advantages of Prime Lenses

Superior Image Quality

You will generally find that you can obtain a “sharper” image with a prime.  Some of the older lenses and ones that we used in film photography are slightly softer, but we were fine about it then, and this quest for modern sharpness seems to have become more important.  In digital photography, this new and thoroughly modern technology will lead to less distortion, and chromatic aberration, which is indeed an aberration where you might get a blueish outline around the subjects in your shots.

Wide Aperture Capabilities

I touched on the concept of aperture in my Photography 101 article.  The aperture is the hole that allows light to expose the film or your camera sensor.  The larger aperture (indcicate by a smaller f number) allows two things.  More light to hit the film, therefore allowing us to shoot in lower light,  and the separation of the subject from the background by getting that “creamy” bokeh beloved by so many of us. 

Compactness and Portability

The “average” prime lens is more “compact” than the average zoom lens.  Effect number one of this is that you can fit more primes into your camera bag and it will probably be lighter.  Think about what I said in my street photography article.  A camera with a smaller lens is also less threatening than having a massive thing thrust in your face.  Being less threatening is always good, and makes the photographic experience more pleasant for everyone.

Creativity and Artistic Expression

When using primes every shot becomes more deliberate.  The choice of which prime to use becomes more important.  You “zoom” with your feet and not with the lens. I have talked about this mindfulness in my photography tutorial series.   

Advantages of Zoom Lenses

First of all we have to talk about what a zoom lens is.  Well, it’s a lens that allows you to zoom.  Sorry about that, I couldn’t help myself. On a more serious note, it is a lens which glides through a series of focal lengths on the same lens.  I have three zooms for my DSLR, a 16-35mm f4, a 24-70mm f4, and a 70-300 f4 – f5.6, and the 18-55mm (24-70 full frame equivalent) kit lens for my Fuji XT2. With three lenses I am covered from 16mm to 300mm, which for me is a big deal.  My 16-35mm has me covered for wide angled vistas of the Place Cambronne in Nantes, and those distorted obligatory bike shots, to general street photography.  My 24-70 f4 even has a macro function offering me even more versatility.  I would class it as my events lens and can double for street photography, and even street portraits.  It’s a veritable work horse of a lens and was what I used when I talked about spring.  My 70-300 lens is for when I can’t get near enough to my subject without spooking it, be that my children messing around next to the river, or taking shots of cormorants sunbathing on the river Erdre in Nantes.

Convenience and Ease of Use

In my previous paragraph I talked about the different focal lengths that I have with each zoom lens.  At the moment in my camera bag I have my Fuji X100F and its 35mm equivalent f2 lens and my Canon 6D Mark II and my 24-70mm f4 lens.  It means carrying less equipment and being prepared for a variety of shots when on the streets or taking photos for my work.  It also provides for less “faffing about” which is something I love to avoid in general, unless I am prepared mentally and ready for it.

All-in-one Solution

Instead of having a different lens for each situation, I have a solution in my bag that allows me to adapt.  Why buy three lenses when I can have a multitude of possibilities with just one lens?  They might seem expensive, but when you are not a professional, cost is something that has to be taken into account, otherwise you have to be very good at communication with your spouse justifying all these purchases.  Happy wife, Happy life.  Happy Husband, we’ll see about that!

Image Stabilisation

In the last paragraph, I talked about stable marital life, and on my zooms I have image stabilisation, which will allow me a more stable shooting of an image.  In the Photography 101 article I talked about having an exposition of nothing lower than the focal length.  IE with a 50mm lens I should not shoot lower than a 50th of a second to avoid camera shake and therefore a sharper image.  This stabilisation offers me about 4 stops extra to play with, be that having a longer shutter speed, or having a larger aperture and therefore getting more in focus in my image.  

Conclusion

I have talked about how this photography lark is all about give and take.  This is so true in the exposition triangle where everything is a question of balance, but also true in the case of lens choice.  Some will be more expensive but give you more control, and others will offer you more ease of use and versatility. You are the one who ultimately has to decide on what camera gear you need (more than want).  What is most important to you?  How will the lens help you?  What is your budget?  

When all these questions are answered honestly then you will be well on the way to having the kit you need, to do the type of photography that you want to do.  

What would I advise a novice for their first acquisition?  I would say the nifty fifty.  The 50mm is closest to what the eye sees.  This prime generally offers an opening of F1.8 which gives you that sexy bokeh.  

Ultimately the choice is yours alone.  But this simple guide may help you reflect and question yourself and allow you to make a deliberate well thought out decision.  The most important thing is to get out there with your camera, start making memories and training that beautiful eye of yours!

Frame It Right: The Art of Composition in Photography Part II

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In my last article, we talked about three of the rules of composition, rule of thirds, leading lines, and symmetry.  We talked about the origins in classical art, as well of how to use them in our photography.  We also explored the implementation of these rules “or guides” and how we should practice each one, master it, and then move on to the next one.  You will still have your photos for the “Gram,” but more importantly, you will be growing as a photographer, gaining experience, and building a body of work.  You will, by definition start becoming more deliberate in capturing your shots, and will be more mindful than somebody just shooting blindly and praying that they get at least on shot!

In this article we will continue to explore certain concepts that be used to make our photographs even more engaging and interesting.  We will explore framing, i.e. using frames with in frames, and the use of negative space, used to isolate of emphasize our subject, and go minimalist.

Framing

When I say the word framing, I’m not talking about the gilded golden frame that you will use to frame your photography to give as gifts to your mother-in-law, but using visual frames inside your image to “frame” your subject…

These examples illustrate how framing can be a powerful tool in photography, guiding the viewer into the image and providing depth and context to the subject or scene being captured. A technique that can make your photos more engaging and immersive.  You can use trees, windows, element on the ground, buildings.  Go out and explore the world around you and try and “frame” your shots.

Negative space

Negative space is the space that surrounds our subject, this empty space or unoccupied space is almost as important as the subject itself.  It’s role is to create balance in the image and adds to the importance of the subject.

Key points

This negative “space” around the subject gives the subject room to breath, and takes away the clutter so we can concentrate on our subject.  It emphasizes the subject and leaves no doubt where the subject is to be found.  For those of you who want a “minimalist” approach to photography, it is one of the best ways to do this.  Less is more after all.  Think of simplicity, tranquillity, and elegance.  It can be used to create mood and atmosphere, and in landscape photography can portray ideas of solitude or freedom.  Think of a vast empty sky and rolling hills.  Negative space doesn’t have to be completely devoid of detail. It can be an area of uniform colour or texture that complements the subject and adds visual interest, or we can use depth of field to emphasize our subject

When using negative space, it’s essential to pay attention to the balance between the subject and the surrounding empty areas. The goal is to create a harmonious composition where the negative space complements and enhances the subject, rather than overpowering it. This technique can lead to powerful and emotionally resonant photographs, adding depth and impact to your work.

When you look at my photos of the girl against the colourful walls in Trentemoult in Nantes, think about how placing the model on the left or right of the frame makes you feel.  Looking forwards or looking backwords… 

Colour Theory

Colour theory is not just for those trendy designers in those advertising agencies.  If you go onto my Instagram feed, you will see that most of my work is predominantly black and white.  “So no colour,” I hear you say.  Well, yes and no.  Black and white photography concentrates on tones, but we can look at colour in the same way and seek balance in our colours.  So what’s this colour wheel then?  Well, it’s a way of looking at colours that go together, like green and red (think of Christmas cards), blue and orange, yellow and purple, all these colour are opposite on the colour wheel. Also, think about complimentary colours that are next to each other on the wheel, such as yellow, light green and dark green.  You will find yourself becoming aware of colours in nature and how they complement each other.  There will be some photographs that depend on this colour for their artistic value, and that won’t work in black and white photography.

Think about the portraits in the previous section and the natural colour in the photos in the country side.

Conclusion

We’ve continued our journey into composition by exploring how to use elements in our photos to frame our subjects. We’ve delved into the concept of negative space, emphasizing our subjects in our images. To conclude, we’ve begun to consider how colour can add harmony to our compositions. My advice is to incorporate these elements into your photography one step at a time. Don’t rush; there’s no need to feel overwhelmed. It’s a lot of information to take in, but as you explore each aspect mindfully, you’ll witness an evolution in your approach. Keep up the excellent work, and I look forward to our next session where we will talk about pattern and repetition, scale and proportion, and depth and layering.