Tag: Photographic Vision

Photography Philosophy – Part V – Identity and Self-Expression

Posted on Posted in photography philosophyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 2 Comments

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.

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

Posted on Posted in Photography TutorialsTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment

In my last article we talked about exposure, and balancing the elements that form the “exposure triangle”, i.e. the sensitivity of the film that we’re using, of the ISO setting on our camera sensor, the shutter speed, i.e. how long we let the light hit the film, or camera sensor, and aperture, i.e. the size of the hole that light comes through measured in F-Stops.  When these elements are in perfect osmosis, we should get a decently exposed photograph. 

Introduction to composition principles

Now we shall take this knowledge and build upon it with notions of composition, i.e. how we will organise the elements in our photograph.  Sometimes we have control of where these elements are, for example when creating a still life image.  Other times we have no control whatsoever and just have to move ourselves instead.  The way we do this is by thinking about our “Composition.”

As humans we are all guided by rules, some universally moral, some defined by the country we live in (like in France where they seem to be forbidden to make a decent up of tea), and Art is no exception.  There are rules in Art that make an image pleasing naturally to the eye, and, believe it or not, these “rules” have been around for a long time.  Now I hear you little rebels sat at the back of the classroom near the radiator saying how you don’t live by rules, and that you break every rule in the book.  And I have no problem with that.  I would however suggest you learn the “rules of composition” first and then, and only then break them knowingly.

Photography is art made with light, and the first photographers were heavily influenced by the art and paintings in the local Art Galleries.  They therefore had a very “classical” notion of composition.  I want you to imagine those massive oil paintings in a gold frame showing a Victorian gentleman looking over the top of a waterfall, framed by the forests, and still looking so dapper.

The Rule of thirds

This is one the first things that people will talk about when talking about composition.  The idea, as the name suggests is to divide a photo equally into thirds horizontally and vertically, and put the point of interest (subject) where the lines intersect.  Or you could have a landscape photo where sky will take up two thirds of the photograph and the foreground the other third.  In editing software, when framing you shot they will put a three by three grid on your photo automatically.  Some digital cameras allow the use of this grid inside the viewfinder.  When taking a portrait you would ideally have the eye where the lines cross.  Yes Ian, but this has been done, done, and done again, and has become a cliché I hear you say.  Possibly, but it works mate!  Don’t knock it.  As I said earlier, learn the rule, master using the rule, and then you might consider breaking the rule, but it will be a conscious decision and above all, deliberate.  But it will permit a pleasing and natural result.

Leading Lines and Perspective

Leading lines are lines that lead the eye into the photograph, turning it into something dynamic.  The lines will converge on a certain point in the image, which, if you want, can be on the grid that I described in the last section.  This point is the vanishing point, and give geometrical forms to your image, and can lead to the subject of you photo.  When using straight lines,you can emphasis to shapes in architecture and acquire a very “graphic” image.  Using a wide angled lens or even a fish eye lens will emphasize these line even further and the distortion of these lenses will add even more interest to your image.  I will talk about the most common lenses in a future article.  We’re not there yet. The lines don’t have to be straight, they can be curved or S shaped.  Think of a winding road in the countryside.  Whichever version you use, there will be a feeling of being drawn in to the scene. 

In the first photograph of the original Pegasus Bridge all the lines converge to a central point with a person standing which gives us an idea of the scale of the bridge.  These straight geometrical lines give a feeling of stability and solidity. 

In the second photograph, we can see an image that uses an S curve, and as you can see, the effect is totally different.  More subtle, but they eye is still drawn in to the image.

 Leading lines can appear in nature and in the landscape.  Look at the way that the tree line and lines in the mountains converge on a specific part of the photograph and show the different layers of the photograph. 

I seem to use them in quite a few of my photos, and with time, you won’t even have to seek them out.  You will be lead…

Symmetry in photography

In last week’s article we talked about exposure and how it is a balancing act between the three elements: film sensitivity, aperture, and shutter speed. We can find this symmetry in our compositions too. 

Symmetry in photography is a fundamental principle that enhances the visual impact of images. It involves balancing elements on both sides of a central axis or point. There are various types of symmetry, including horizontal, vertical, radial, and bilateral, each offering unique opportunities for creating appealing compositions. Symmetry naturally draws the viewer’s eye, adds stability, and is particularly useful in architectural, landscape, and macro photography. However, breaking symmetry with a contrasting element can introduce tension and creativity. By framing subjects thoughtfully, adjusting camera angles, and recognizing symmetry in both natural and man-made subjects, photographers can master this powerful tool for captivating compositions.

In summary, symmetry in photography is about creating balance and harmony through the arrangement of elements within the frame. It provides a sense of order, highlights patterns, and engages viewers, while also allowing for creative deviations when necessary to convey a specific message or emotion.

Conclusion

Firstly let’s not be fixated by these rules. I was right to describe them as “guides” to composition.  Talking about them is fine, but we have to put them into action.  Don’t try to do them all at once.  Take one rule.  Look at it closely.  Think how can I use this one rule?  How can I master it, or at least take it on board.  When you think that is is engrained into your mind, then start using a different concept.  I can’t stress that when learning, take your time.  Let the concept become second nature.   

There will be occasions when you feel that you are no longer advancing in your composition, but stick at it.  You will not obtain mastery after just one outing.  I’ve been doing this for 40 years and am still learning something new each time I go out with my camera.  People talk about being on a photographic journey, and that is a very good way of looking at it.  You can’t run before you can walk.  Don’t let yourself be overwhelmed by what you might see on Instagram, or even on this blog.  We are all at different places on this path.

In next week’s episode we will explore framing, negative space, colour theory, texture.  There will be a third article to cover pattern and repetition, scale and proportion, depth and layering.  There are so many points to talk about in composition that we may even have a fourth article but we’re not there yet! 

See you next week.  Until then, keep shooting!