Tag Archives: story telling images
This is the second in a series of posts about how changing the ways we see as photographers can change the stories in our photos.
Reading this article on the journey from snapshot to expressive imagery got me thinking about how to make creative vision concrete for people learning photography. I want to share some insights here and hopefully make this abstract and wonderful idea into something you can practice after reading this post.
One of the most challenging parts of being creative is to look at things from a different perspective. We may find that subjects we shoot don’t vary in a topical way. We can shoot faces for the rest of our lives, or land and water. Others of us just hunt for light, and make images from that. But a viewfinder is a viewfinder is a viewfinder. To really make a new image, we have to practice seeing in ways that make our efforts more expressive, and less of snapshots.
The best way to learn something complex such as creative vision is to break it up into discrete, bite-size skills. That way, someone can practice a skill and hone it until it becomes a part of the natural repertoire before moving on to the next.
See the colors
Spotting pleasing or unique colors to create an image is a great skill to have. Although it seems that luck has a big part to play in finding pleasing color palettes in our found images, it is also a matter of being a skillful observer. Ask questions like, is an explosion of color a great background for someone in silhouette? Will walking to another vantage point give the shot a better background? We donâ€™t have control of what colors present themselves to us from day to day, but we do have control of where we stand and what we include in the frame. Training ourselves to think about color will produce images that use the color in expressive ways.
See the values
The world is in Technicolor and we canâ€™t see in monochrome. But imagining the valuesâ€”the intensity of black, white and shades of gray in betweenâ€” rendered by the light reflected by the color spectrum, gives us a creative way of seeing. Seeing a scene from darkest values to brightest is like putting a gray filter over your eyes. Seeing in values helps us to compose using them, instead of using shapes or positions of things. Seeing this way can help us break out of basic composition into the next level.
Every beginning photog has heard the phrase â€œfill the frame.â€ This is great advice; when we compose, we donâ€™t want nor need clutter. What we want is to use the shapes, color and content in a photo to speak to the person looking at it. Learning how to notice and photograph detail can help us zoom in on a story, and make our images more expressive.
Dynamic lighting in a photo begins with direction and quality of light, but it doesnâ€™t stop there. Part of the effect in dynamic lighting is where the shadows fall. You know that rule in physics that says â€˜for every action there is an equal and opposite reactionâ€™? This tension also works in photographic lighting, except that we could rewrite the rule as â€˜for every light there is an equal and opposite shadow.â€™
So controlling the light means controlling the shadows. This effect can create lighting that is dynamic, three dimensional, and eye catching.
We can learn basic lighting conditions, whether in a natural setting like in travel photography, or in a more controlled setting like when using strobes or window light. To add to this wonderful skill is the ability to read the stories that shadows tell.
Telling stories with shadows is a great way to learn dynamic lighting. When we can learn to see where the light falls, how much it falls off and in which direction, we can start designing images that tell stories.
The photo of the two people was lit using ambient light, light from broken walls and holes in the ceiling of an abandoned mansion. There was light coming from above both the woman and the man, and the shadows falling around them framed the shot. If I had moved a little to the left, two things would have happened: the man would have been out of the line of sight of the 50mm lens I was using, and the woman would have had less shadow on camera left. Positioning the camera where it was, I was seeing the way the shadows would frame the scene. Moving around is one way of controlling the direction and amount of shadow in a photo.
Another vantage point that was deliberate was in the next photo where the model is below the camera; I was standing on a ledge in another broken building. The light was coming from camera left, through a broken wall. The harsh midday light created deep, dark shadows around and beside the model, making shadows on the wall, and forming pools of shadow around the path she walked. The mystery created by the shadows gives the photo a story telling quality I would not have achieved if I had the whole scene lit up.
Lighting a scene, we know, doesnâ€™t need to be complicated. In this shot of some Indian fashion, I only had a high window to work with, and a distant doorway some 300 meters behind the model. I found a place where the window light would directly shine on her face and side. Having done this, I also saw that the curvy geometric shapes and their shadows in the image complemented the pose and dress of the model, so I played up the shadows by underexposing the background and using a small aperture. The slower shutter speed gave me a sharper take on the dress plus created a three dimensional image. Controlling the settings to augment shadows in a shot is another way of allowing shadows to tell part of the story.
Telling a story with a photo doesn’t just depend on where light illuminates and what it illuminates. Where the shadows fall also speak stories.
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All You Need is a Window
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The Beginnerâ€™s Guide to Photographyâ€™s Holy Trinity
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