Life moves pretty fast.
If you don’t stop to look around once in a while you could miss it. Ferris Bueller
Life does seem to move faster and faster with each passing year. The pace just never seems to slow down; deadlines at work, soccer practice and dance lessons for the kids, lawns to cut, and a hundred other tasks that all demand our attention, right now!
How often have you walked or driven by something that caught your eye, and immediately began an inner debate: should I stop and shoot that? Is worth the effort? And having NOT stopped, how often have you later kicked yourself for your decision?
Is passion necessary to create great images? If you are not passionate about your subject, is it possible to create images that others will find interesting, let alone inspiring? To quote Jay Maisel, “If you’re not excited about your images, how can you expect me to be excited about them?” It’s hard to argue against this idea, (and yet commercial photographers are called upon to do this everyday; against deadlines, and within ever shrinking budgets.) So, if you aren’t feeling particularly passionate about shooting on a given day is there any point to picking up your camera at all? Given the basic premise here, you’re only going to create uninspired, boring images, aren’t you? Is there any point to working at photography simply for the sake of working at it?
Photography is a two dimensional medium which we use to represent a three dimensional world. The basic visual cues that allow us to infer the third dimension in a photograph include:
Size -- whenever we have familiar objects in the frame, we use their relative size as a clue to their relative distance from us.
Focus -- Something which is sharply focused in an image will be perceived as being either closer or farther away than something which is clearly out of focus.
Visual cues such as receding lines -- the familiar illusion created by the lines a highway that appear to converge into the distance.
The two images above use size as one visual cue to the which elements are closer to the viewer, and which are further away. The flower also uses differences in sharpness to aid in creating an illusion of greater three-dimensional depth: the bloom that is both sharper and larger appears to us as being closer. The image of the Amsterdam canal boat uses relative size, as well as converging liners to create the illusion of depth.
There is also another visual cue that we can use to create or enhance the illusion of “three-dimensionality”: the relationship between light and dark tones in an image. All things being equal, areas in a picture that are lighter in tone will appear to advance toward the viewer, and those that are darker will appear to recede.
With Christmas and New Year behind us, the summer travel season is only a few short months ahead. It’s not too soon to be thinking about the capturing the best travel images of your life. As a photographer, the chance to travel and immerse myself in another culture while working to capture the essence of a place is a challenge I simply cannot turn down. But creating compelling travel pictures is no easy task.
This is consistently the most common first complaint I hear in my Digital Printing course at www.bpsop.com. This is true even among photographers who understand the need, and have taken the time to calibrate and profile their monitors.