Jo Gilbert took us through the first exercise in generating materials for the 2019 Kingswood Salver. If you missed last Thursday’s “Shadow” Panel session, fear not, bring in your versions and, if available, a lap top or similar device that you can edit on and you can join in too. This week we shall be editing our panels and extra shots will be welcome. Doesn’t even have to be a shadows panel at this juncture, though it would be better if it were.
Three things we found out across the shadows session: They are simple to create, difficult to capture just right and working in teams can be very productive. We started with a look at some past panels entered in the Kingswood Salver and applied a critique to each individual image in the panel and the overall panel itself. Certain patterns started to emerge and each of the six teams then at least had a grounding in where to start.
I have mentioned Stephen R Covey before and his most famous work: “The 7 Habits of Highly Effective People” and specifically his admonition to always “Start with the end in mind”. When faced with a task and a time limit the temptation is to wade straight in and start experimenting. The flip side of this is that it can quickly become quite dispiriting when the expected result doesn’t emerge or doesn’t emerge quite as quickly as expected.
As amateur photographers (and not a few professional ones) have found out that having a clear idea when we start shooting simplifies the looking, framing, shooting of our images is “A good idea”. In our we set out some common criteria to the panel entries from last year and included or rejected ideas simply by adding the magic word “Because” to our impressions.
It was, on looking at what was being produced around the room, “A good idea” because the story behind the panel became part of the focus of producing our own. Mainly the story seemed to follow the images, which gets us going, but drawing a story from what resulted wasn’t always going to be easy. Without the continuity then building a panel gets a lot harder and we end up with a frame driven by necessity rather than by design. Other than by luck this will produce weaker stories.
Weaker stories are a problem in photography because photography is a way of exploring and telling the stories we gather by the reflection of light. Stronger photographs tell better stories. This then can be easily extended to a series of pictures, can’t it? When introducing photographs in a series they may be equally strong, then the problem becomes, if not complementary, of there being a tussle for attention and the whole display becomes weakened.
So the idea is that, in any multi panel presentation, the whole is more than the sum of its’ parts, which is as far as most people get with Gestalt theory. There is something – a whole photo-book at the very least – absolutely useful in the eight “Laws” found in Prägnanz (and you didn’t think you could at your age), basically that:
Proximity – when objects are close together we perceive them as a group and give them meaning as such.
Similarity – elements, (colour, form, shape, shading etc.) within an assortment of objects we group together in our mind’s eye if they correspond to each other.
Closure – we perceive objects such as shapes, letters, pictures, etc., as being whole when they are not complete, we fill spaces in the visual gap to produce a consistent view.
Symmetry – our minds perceive objects as being symmetrical and forming around a centre point. We tend to like splitting scenes into an equal number of symmetrical parts which goes some of the way to explaining the rule of odds when we want to make a number of objects stand out in a composition.
Common fate – states that objects are perceived as lines that move along the smoothest path. Short explanation: this is why leading lines work. The eye and all objects in the frame are visually drawn to a point which becomes the point of visual weight.
Continuity – We are less likely to group elements with sharp abrupt directional changes as being one object, we like things to go as expected.
Good gestalt – objects tend to be perceived as grouped together if they form a regular pattern that is simple and orderly.
Past experience – under some circumstances what we see is categorised according to past experience.
As photographers rather than psychologists we can use these ideas to promote harmony and continuity among not only objects within a frame but subjects across frames. For the Salver competition that means across five frames.
Frames are useful in the context of our individual development as photographers. I remember from when I first started out in photography as a hobbyist in my early teens coming across a piece of advice that came back to me when discussing their progress with one of the groups.
Basically it was an axiom that, and this is in the days of film (of course!), you should frame your shot three times from different angles before pressing the shutter to capture the strongest view of the three. In these days of virtually zero cost to the additional frame this is still good advice but one where we have taking the luxury of pressing the shutter each time we frame.
A very good general exercise is to think of your compositions in terms of three frames – a form of triptych. This allows us to expand the possibilities that just one shot precludes, it is also good practice in presenting different angles and it is a very good way to remind us to vary our perspectives, It is also generally quite instructive when we take even a basic structure to looking and critiquing our own pictures.