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Beyond Visualisation for Photographers
You have invested the time and the effort to develop your ability to really see what you look at; you are beginning to recognise the “real” picture in the scene and have grown in your technical mastery to the point where you can reliably capture the image that will convey your sense of reality to others who see your photographs. You are well on the way to becoming a competent photographer. You have that great shot in the bag, but what next? Next, before you move on, you try other things. You visualised the photo as a vertical composition, so make a horizontal version; experiment with a different exposure, or shift your aperture to narrow the depth of field, or slow the shutter to induce motion blur... whatever. Don't stop there. If you focus all your attention on what caught your eye in the first place, satisfaction may lead to a sense of completion - and to missed opportunities. If your initial picture was of a distant object, see what's going on nearby ... or vice-versa. Your chosen shot was wide-angle: now use a telephoto to isolate some of the elements that made the scene worth shooting, and vice-versa. Remember to look around and see what's going on behind you, too. Even with your trained eye and technical skills, some shots still are a bit disappointing, while the subsequent images become favourites! Experience and practice reduce the technical uncertainty associated with your images but photography should still carry with it an element of uncertainty. If every shot is good enough...even ‘perfect’, your photography is probably become mechanical and, inevitably, a boring pursuit! Nothing more than a record of your visualisations and evidence that you have stopped pushing against the limitations of your current skill levels, craft and equipment! Every photographer loves discovering an image that makes them say “Yes!” More than the satisfaction of saying that’s just what I wanted to say is the pleasure of those unexpectedly happy results, where not much was really expected. Experience is the way a photographer increases the frequency of these happy accidents. Learning to see and a sure touch with your equipment are the keys to consistently good photographs; but experiment and the willingness to take that one extra frame and to take home all the pictures and not just the “good ones”, opens up the possibility of serendipity. Gaining editing skills (especially in the “electronic darkroom”) is the next step. Learning to see involves the developed ability to notice things in the quality of the light, the subtle interplay between textures, the play of light and dark and the harmonies and tensions within a scene which determines its possibilities as a photographic subject. No matter how good a photographer’s eye you develop, every subject still deserves to a second look, to be “worked” until all of its potential has been exploited. As your potential grows, so does the potential of the subject.
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The copyright for this content entitled "Beyond Visualisation for Photographers" has been specified by the contributor as:
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This intel was contributed by David Rich
David Rich
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May, 2012
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