Tag: Photography practice

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.

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

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In my previous articles, we’ve embarked on a journey to understand the basics in photography. I have talked about exposure, set out some of the “rules” of composition, and even delved into the world of colour theory. Today, I’d like to introduce you to the rule of odds and the rules of space, two fundamental elements that will take your photography to the next level.

Before we talk about these new concepts, let me reiterate the importance of building a solid foundation. Just as we did with framing, negative space, and colour theory, it’s crucial to master each concept before moving on to the next. Take your time to learn and apply these principles in your photography journey. The other four articles will stay up, and you can read them at your leisure.

The Rule of Odds in Photography

The rule of odds is a composition guideline that suggests using an odd number of subjects or elements in your frame, typically three or five, rather than even numbers. Why? Because odd numbers tend to create a more balanced and visually pleasing composition.

When you use the rule of odds, you create a natural focal point within your photograph. Our eyes are drawn to the centre subject, and the uneven arrangement adds a sense of harmony and intrigue to the image. The result? A more captivating and dynamic photo that engages your viewers. It’s all about balance.


Rules of Space: Balance and Direction

Now, let’s look at the rules of space. This concept involves how you position elements and subjects within your frame to achieve balance and direct the viewer’s gaze. It leaves space for the subject and can be used in multiple ways as a storytelling tool. It can also be used in conjunction with the other composition techniques that I have talked about in my previous articles.

Tips

Think outside the frame. What is going on outside the frame becomes as important as what is oing on inside the frame. Let’ take the picture of the guitarist. Who is he looking at? What’s going on outside the frame? Is there an audience? Where is the audience? Using rules of space the viewer will more curious and be more engaged in the photo.

Conclusion

One can talk about composition and the effect it has on photography till the cow come home. People will always bring up “composition” and will always tell you how “they” would have done it differently. In these four articles you will now know what they are talking about and be able to decide for yourself. In absolute terms, “your” photographs are about what “you” saw, and only “you” can see that. But keep the rules that we have discussed in the back of your mind, and take your photograph with purpose and being conscious about what you are doing. Mindfulness is the key.

My next article will talk about the differences between 35mm film photography and medium format photography. For film enthusiasts or anyone else who is curious you will be entering into a new world. There are, of course, trade offs between each format, and we will discover them. Maybe you’ll be bitten by the Medium Format bug too… As always Dear Reader, I appreciate your enthusiasm, and I look forward to our next exploration together. Until then, happy shooting!