Tagged: visualisation

29th November 2018 – ROC Round 2 and Taking Note

Round 2 of the ROC and again a wide variety of images for our replacement judge, Adrian Herring, to weigh up. An enjoyable evening and some names beginning to filter through we haven’t seen for a while.

So, what is the value of judging to the entrants? The competitive element aside, and that is more of a spur to some than others, there is a considered viewpoint about merits, demerits and options not taken. It is a photographers view, more succinctly, another photographer’s view.

Our photographs have many potential audiences. Some of those audiences mean more to us than others, though we should be dismissive of none of them. Our job, as the artist and as far as we can, is to elicit why that viewer has that opinion. To us “Because” is the most powerful tool in the box.

Now there are some very important rules to apply to this as an exercise. Some people’s opinions will mean more to us than others, and the ability to maintain perspective given those sources is important. If every negative comment lands as a blow and every positive one brushed away then we are setting ourselves up for a bad experience all round.

It is about the work not the photographer. The outcome is one thing, win/loose is the short term, growth, choosing to take the opportunity to learn, makes getting stuck less likely.

Balance is crucial. The one thing that you can say about the judging within the club, within the WCPF, is that the feedback is impartial. Yes it is going to reflect the judges tastes, but never yet has there been a lack of reasoning (in my experience). That reasoning is the wheat in the chaff.

What went right is as important as what went wrong.

The judge’s job is to make decisions on the entered images, but, also to expand on this and grow it into an interpretation of those images. Constructive criticism. They tell us what they see. Their general purpose is to enrich our understanding of the work in front of us. In doing so they will create points of agreement and dissension. And winners and losers are appointed accordingly.

But we can critique (not beat up, please note) ourselves. There isn’t one model but it helps if we adopt the same model each time, the same basic questions. We have talked before of this in relation to developing a style, but it is a general skills developmental tool in a broader sense.

This is better yet if we commit it to a journal or scrap book of images that attract us and why, of techniques, looks and resources. Yes, YouTube has many excellent videos, but finding them again can be easier said than done and it necessarily makes us passive by taking the time to watch the videos and more so if we then don’t go and try it.

Competitions such as the ROC are a chance to look at other peoples photography critically. We shouldn’t wait till then to do that. We live in a visually oriented world, so much so that it is too easy to let the everyday opportunities pass by. Flickr, 500PX, Instagram and other sites dedicated to users photography are an easily accessible source of images at all levels.

And if we go to these sort of sites with a critical but open mind it becomes an enjoyable way of getting our own thoughts ordered and in finding new ideas and things to try. Similarly in looking for the works of acknowledged masters of the craft we can use our critical framework to get our own insights from their work.

It all helps us see the photograph we want before we take that photograph. Visualisation, as it is called. Where we reach that point where the “Camera is a tool for learning to see without a camera” (Dorothea Lange). It is based, I would argue, in knowing how the pieces are going to fit in the frame.

And that can only come through a conscious regime of planning, doing and reviewing. That isn’t a recipe for doing the same thing to death, it’s an invitation to learn how to do things well. It is also an opening to learn from others. That is why it is a good thing to enter club competitions, whatever you think your level is. Because ….. well, only your photographs can answer that.

101 Corner

If you have been following this series you will by now have generated a good few images. Some will strike you as being better than others for reasons that are obvious and not so obvious. This session we are going to look at a, but by no means the, system we can use to level the playing field in terms of how we come to those conclusions.

For this you will need, pen, paper, a selection of your images and written answers to the following questions:

  1. Where does my eye rest (which part has greatest visual weight)?

  2. Are their any distractions? (List them if so).

  3. Is the exposure correct? (Too light? Too Dark? Spot on?)

  4. Would a different crop make it a stronger picture? (What should be left in/out?)

  5. What is the effect of the background? (Supports the picture/too crowded or busy how?)

  6. How does the depth of field effect the picture?

  7. How are things arranged? (How effective is the composition and why?)

  8. Is the colour accurate and what effect does this have?

  9. Is the image a cliché (Why? What about it makes it so?)

  10. What is your overall impression (a summary of all the above points with reasons)

This is an exercise you should do on your own and other peoples work. Keeping a record helps us to see patterns emerging – the first inklings of our style – and it forms a basis that stretches across genres. Do it with another photographer and a non photographer and compare the outcomes.

11th January 2018 – Table Top Results and Movin’ and zoomin’

Following on from the table top week this session was a results one. These are important sessions to us as photographers even if we are looking at the same subjects we are not looking at the same interpretations and as we looked at in the last blog, these are a really good place to practice the basics in situations where we can control pretty much everything, cheaply and enjoyably.

 

Photography, for anyone who takes it at least a little bit seriously, is a problem solving exercise. How do we get others to see what it is that we see that bears recording? The author Flannery O’Connor is quoted as saying  ‘I write because I don’t know what I think until I read what I say.’  Substitute “write” for “photograph” and “read” for “frame” and “say” for “see” then I think a lot of us would recognise the feeling. There is a whole craft of difference between “There is something interesting” as opposed to “There should be something in that”.  Don McCullin feels that “Photography … is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures,” Hence, in search of what our mind’s eye sees (visualisation) we can apply the principle of “Working the scene” as a method of seeing what we are feeling.

 

Worth revisiting, before we expand this, are previous considerations on rules – which those of you have persevered with this blog  will remember as “Tools” – which are all about organising lines, curves, triangles and shapes for effect. There is an elemental value to thirds, leading lines, filling the frame, repeating patterns etc. etc. but not of their own. We are the difference that focuses all these things into a frame, the ultimate lens.

 

First off let us consider the notion of the position the camera is in when viewing a scene aka Point of View (POV). Rarely is eye-level when standing, unless you are exceptionally tall or exceptionally small, the best to be had POV. I am not sure what percentage of the images are taken from this rather inflexible POV but willing to bet it is in the high nineties. That is not to totally to dismiss it, it gives us an as seen perspective after all but it shouldn’t be left at that.

 

Moving, zooming with our feet changes the perspective of foreground to background.  Zooming with a lens alters the compression between foreground and background by optically cropping. Then there is the low angle and high angle perspectives and we can combine these POV’s with the tool of thirds to place objects around in different parts of the frame, and / or vary the depth of field.

 

All these are interactions with the thing that we saw in the first place, the thing that gave us pause. We use the frame of the viewfinder to exclude those things that get in the way of that vision and we use the principles and tools of composition to work the scene in order to explore those things that are particular about it out of which we make a story. It is worth putting in the effort to make sure we have all the angles covered, to have the material to choose from that gives us the best chance of getting on file what we saw in the first instance.

 

Can’t this be done in post? Technically some of it can, but, the in camera images are the raw materials, not the finished item. Indeed, it could be argued that, as pictures, this data does not exist as an image until it is printed. It is everything we can work with but it’s not everything on offer. Remember, that the camera is a tool for excluding detail from the capture of what we have visualised.

 

Culling the images should be the left to the start of post production. It is basically a waste of time and battery to keep on chimping (taking the photograph and then looking into the live view and going ooh,ah) and breaks the work flow when working the scene.  All things at the proper time is the basis of an effective work flow.

 

Time spent in capture, getting it right in camera, saves on time staring at a computer screen trying to put things right. Experience tells us that we will, with the luxury of time, squander it fiddling with lifeless images, often trying to hide deformities beyond masks and filters and effects. It is the joy of being an amateur that we can do this to our heart’s content. It is death as far as anyone getting paid for it is concerned.

 

To get through a lot of images it is a good thing to apply the 2 second rule. Any image that does not hold your attention for longer than 2 seconds delete. No ifs’ no buts’ no maybes’. Two seconds, it appears, is about 4 times longer than it takes to form an opinion of a photograph. Anything longer is not going to make an image any better.

 

Then we can start working on those that are left. There are a number of different ways of doing this and everyone develops their own, but there has to be a reason for making each decision. I am doing this because … It is always because, as, as far as learning goes, there is no more powerful word in the English language than because.

 

So, at this point, grab the camera and off we go ….