With regards to “The Journey”, I believe that there are Four Elements that need to be considered when trying to take/create an image/moment that is more than a “snapshot”, and they are:

• The Photographer (Wind)
• The Subject (Water)
• The Composition (Fire)
• The Technique (Earth)

The Photographer

Like “Wind”, you, as the photographer, ultimately provide the intangible. The purpose and reason for the photograph, the intellect, the vision, the timing and the interpretation of what is before you, i.e. The Subject.

The Subject

Like “Water”, the subject of a photograph is everywhere and can be flowing or still. It can be a spontaneous scene that is happening before you, or a carefully crafted scene that has been planned to the last detail. It may involve people or places or inanimate objects. You may or may not have control of the subject and you will have to adapt as required. Sometimes, it is difficult to decide what it is you are trying to photograph, especially when the scene is full of possible subjects. Understanding what the actual subject of the photo you want and deciding how best to photograph it, will help greatly as you try to to manage The Composition.

The Composition

The Composition of a photograph is the “Fire” of an image. It is the key element to creating images that make people look and appreciate an image. So what exactly IS composition? One definition for composition states that it is “The combining of different parts to make a whole” (also see this Wikipedia entry for a more comprehensive explanation from an artistic perspective). There are some “rules” and many aspects to the “combining of different parts” in composition that have evolved over many years, particularly in relation to the field of painting. Ideally, the various elements and rules in a composition should create an emotional response in the viewer (just like music). Having said that, these “rules” should be seen more as guidelines that work, but can (and should) be broken when it is appropriate. However, good composition with poor technical execution, will still lead to a poor image.

The Technique

Like “Earth”, there are foundations that all creative work needs to be based on. There are techniques that need to be understood and mastered (or at least controlled). In photography, these include understanding all aspects of your hardware and software (you may not need to master them all, but at least know what your equipment is capable of).  You need to understand how exposure works, including shutter speed and ISO settings. Be aware of the effect of different aperture settings on focus (or more accurately, depth-of-field). Know when to use different focal lengths of lenses (or zoom) for controlling perspective. If you are planning on using artificial lights, experiment with different lighting setups and light modifiers. If you are going to “enhance” your images using image editing software, take the time to learn how to get the best out of them. As boring as it may be, a thorough understanding of the “technical stuff” is required, in addition to the other three elements, to produce outstanding images.

Over the coming weeks, I hope to expand on these areas further and I hope to expand your knowledge (and mine) to get this photographic journey started.

As I discussed in my last post, we have control of “the decisive moment”, where the we try to capture the essence of the moment by waiting for the ideal instant when all the elements of the image are in place, before we press the shutter button. Is this then a “true” record of that instant? Many have argued that it isn’t, as we do have some influence as to timing, framing and choice of viewpoint and focal length before we release the shutter. So, in a sense, we have manipulated the “moment” by our selection of many factors and making choices that convey “our” interpretation of the moment. Is there a real difference then between “recording” a moment or “capturing” the same moment? Either way, we have edited the moment and it is no longer a “true” record of the moment. The question begs though,  does it matter? And like all open questions, the answer is it depends on the purpose of the image in the first place.

Besides the “taking” of photographs, there is of course another side to photography that is more controlled and that allows us to “create” the image that we want.

This creative photography may take place prior to the “taking” of the photograph or after the image is taken. By planning the desired image that we want (and of course, taking into account the purpose of the image) and then arranging the elements to ensure that we get what we are aiming for, we can create a photographic image to specifications. Most commercial and advertising images are created to suit a specific need. This includes product, fashion and architectural photography, etc. The photographer has full control of the scene and controls all elements including the subject matter at hand, the lighting (usually), as well as his/her interpretation of the final image.

This sort of planned image can be just as difficult to create as the more spontaneous “journalistic” images that we “record” (ask any commercial photographer). We will touch on some aspects of the created image further along the track.

You can also create an image “after” the event, (both spontaneous or planned images) by what is called post-processing. Since the early days of photography, photographers have had the opportunity to manipulate the image before them, either in camera or in the darkroom. Today, our “darkroom” is image processing software such as Photoshop and the like. There is almost no limit as to what can be created in terms of “photographic images”.

Purists may argue that this image processing (or manipulation) is no longer “photography”, but it can be said that the digital process used today is no different as it was “back in the old days”, except that the tools have changed (and require a lesser degree of skill to achieve good results).

Early photographers had the ability to create multi-exposure images, employ darkroom cropping and exposure manipulation as well as other more subtle techniques like airbrushing (the former Soviet Union used this technique routinely to remove undesirables who just “disappeared” – also see this article) to “enhance” an image. We will also look into image enhancement further down the track.

So, is there anything wrong with not just “taking” a photo, but “creating” an image? I would say that it depends on your purpose for wanting an image in the first place (I seem to go back to this point, don’t I?)

I would love to hear your feedback on this thought.

For some, this “level of thought” happens in a mere instant and for some, it requires a certain amount of time and planning. One photographer who seemed to be able to “capture the moment” repeatedly, but gives the appearance that he is just “recording” what is before him, is the famous French photographer and photo-journalist, Henri Cartier-Bresson. If you look at some of his images, you will see the essence of the moment, captured with what seems like either “good luck” or precise timing. Indeed, Cartier-Bresson spoke about “the decisive moment” in a book of the same name, published in 1952.

How can we capture this elusive moment, where the image conveys more than the sum of the subjects? I’m sure some of us have captured these moments either by sheer luck or perhaps, with an intuition that we don’t recognise. I certainly have a few photographs where I have captured these moments but I can’t recall being conscious of it at the time. Can we “learn” this skill? Perhaps the following article will help.

So, before you take your next photo, have a think about WHY you are taking it and WHAT it is you are trying to capture. Look beyond the confines of the frame. Scan the scene in front of you. Anticipate what might occur. You may just capture that “moment” that will reward you with an image to cherish.

“For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.

To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.

To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning.

It is putting one’s head, one’s eye, and one’s heart on the same axis.”

Henri Cartier-Bresson

I doubt if most people give the process of taking a photo much thought. With the advent of digital “PHD” cameras (Push Here, Dummy), the whole process discourages much thought about the reasons for taking a photo. This encourages a rather “sloppy” approach to image capture and we end up “recording” rather than “capturing” the moment.

Notice I said “image capture” rather than taking a photo. We can “record” time as a photo, or “create” a photo of a moment in time. I feel the former is rather passive, whereas the latter involves a degree of thought to the process. This is not to criticise the photo taker. There are times when we just want a record of what is before us, and we just “take” photos of what we want to record for posterity. However, with a little thought, we can “create” an image that will still capture the moment, but add a little something as well.

Before you turn on your camera the next time you want to take a photo, think about what it is you are trying to do. Am I “recording” a moment in time or do I want to “capture” the essence of that moment in time.

We’ll look into this next time.