Skip to main content

An Objective View, Subjectively Speaking

Even though this post does not contain photos, I think it contains an important message for those of us that create photos, therefore all the text.
          On more than one occasion I have shown people - disinterested parties that had nothing to do with my work at that time - various photos that I had shot on a given theme, before revealing the one I thought was the best. And more than once I had people pull out a shot that I was intent on eliminating, and said how much more they liked that one. Not just one person, but usually a handful - enough to make me reconsider keeping the image.
          At first I began to think that perhaps I was not really as creative as I had thought, since all of these people gave a blank expression toward my 'crowning image', and insisted that I keep one that did not speak to me at all. Wow, didn't they see the vision I was going for? Didn't they "get" what I was doing in the shot I spent hours perfecting and tweaking? Was my idea really so tepid that they didn't immediately connect with it and run off into fields of daisies singing songs about it?
          Then it dawned on me: Maybe my idea of what is the 'greatest shot ever' was just that - my idea. I might think it is awesome, but others connected more readily with something else. I had to step back, in a very cold and objective way, and realize that I was just one little person with one more idea, in a sea of people with ideas. No better, no worse. Photography is about creating images that speak to people, not just me. I might not know how or why a particular shot speaks to them (maybe they don't either), but that is the amazing thing about the arts, and creative work: Sometimes it is the thing that you would never imagine that speaks the loudest to people. Interesting.......

Comments

Popular posts from this blog

Playing With Dramatic Light

I have this image that keeps recurring in my mind. It involves the cold blue feeling of a dark winter and the glowing orange of a firelight. So far it seems to keep eluding me, although I think this is largely because every attempt I have made to capture this "mood" has been done in a hurry, or in the rain, or some other situation that forced me to run through it rather than walk it out. This shot is one such version. I may need to go back with a slightly different lighting setup and try some more. Perhaps in a different location.

It's Not The Light, Its What You Do With It.

Standard soft-light shot with umbrella Snoot light for that film-noir look T his past weekend I had the opportunity to shoot with a very talented East Coast makeup artist, and an amazing model (!)            S ince I knew that I would be working in a relatively small space, and did not want to set up lots of plugged in lights, I used a Vivitar 285-HV speed light and bounce umbrella. Once we got the images we were after, but before we wrapped the shot and struck the set, I dropped a snoot on the light, swiveled it around, and tried my version of a "noir / vintage album cover" look. These are just quick samples of both styles, pretty much as they look straight from the camera. The refined, polished, edited versions will be coming up later - but it is nice to see that even a small and often overlooked "old-school" flash unit can still create pretty impressive light!

The Lighting Tells The Story, and The Story Tells The Lighting

T hose who have studied lighting - especially for theater or motion pictures, know well the mantra that "The lighting tells the story." Simply put: No matter what kind of camera or lens is used, who the actors are, or who wrote the script, it is the light  that ultimately creates what we see. That is the cutting edge of the knife. However, the more I think about this, the more I would change it a bit... " The lighting tells the story - and the story tells the lighting. " It is a reciprocal thing. The way something is lit does create emotion, and makes the viewer feel the story through their eyes. We draw conclusions and fill in details based on the way what we see is illuminated. But that moment itself must also dictate the lighting: What quality of light is needed to do the telling? Where would it be coming from? What color is this light? Is it one solid wash, or should it be broken up in mottled shadows?  All of these things are going to be determined by wha...