Thoughts on Photography

Thinking in B&W to Improve My Photography

 
   

I've long suspected that my move from film to digital has come at a price.  Very simply, digital photography, with its full color in-camera previews makes it easy to get in the habit of ''point, shoot, check the histogram then re-shoot if necessary."  This method has created a lazy approach to the fundamental components of photography. 

Back in my film days, 90% of my photographs were shot in b&w.  Over time, I came to think in b&w.  Only now do I realize what a powerful mindset that was.  When you remove the color information, your mind changes.  Think about how your previsualization works when you know that the color you are seeing will not be part of the final image.  You immediately begin to focus on things like texture, contrast, tonal range, shape, and form.  All of the subtle things can turn a good image into a great image.  Heck, I used to actually use the "zone system" to place the shadows or highlights right where I wanted them.  Just thinking about the zone system before pressing the shutter is an exercise in good photography.  It causes you to consider the elements in the photographs as elements and how they should work as part of the whole. 

Digital photography's convenience and free do-overs has made me lazy.  "I can always fix it later in Photoshop," I would think.   Well, as any good photographer will tell you...getting it right in camera is the beginning of a great image. 

An additional benefit of removing color information from a photograph is that it allows the image to be viewed in a new way...one that emphasizes things that can get lost or muted otherwise.  An example is above.

The color image was created five years ago; the b&w version was created yesterday after I came across the image while backing up files. The potential of this image escaped me when I first processed the color version five years ago.  Look at how the contrast, tonal range, and texture really show up in the b&w version.  I finally saw the power of these elements by converting the image to b&w.   

Its time for me to get back to thinking in black and white. 

A Tale of Two Images

            

Taken only seconds apart, but interpreted very differently in post-processing, these two images were the topic of a recent discussion with a non-photographer friend. Each of us have a definite preference for one version versus the other.  But here we disagree.  I prefer the image on the left and she prefers the image on the right. 

Both of us have our reasons which are surface level, but also deeper than that.  One of us is interested in what story lies within and beyond the image.  The other has no real interest in story, but rather prefers the sensual aspects of the scene in the image.  

We are both right.  For there is no wrong in "art" appreciation...which is why I have never fully understood the point of photo contests.  If I am to win, what does that say about me and my image?  If I am to lose, what does that say about me and my image?  I digress.  

One last point on art appreciation....Jackson Pollock's work is garbage!

Or is it?

Feeback From A Pro

Two weeks ago, I attended the Betterphoto.com Summit in Chicago.  Part of the two day event (which I highly recommend) included an opportunity to have 10-15 of my photographs critiqued by a professional.  I decided to get feedback on what I consider to be my weakest photographic skill - people shots. 

I sat down with photographer John Siskin for about 20 minutes as he walked through the images I created from my one and only photo shoot of a live person (see 40 Minutes in an Alley).  His feedback and my reworked images are below.

Original Image:

His feedback on this image: 

• crop in from the left border; too much space on the left is almost always a bad thing; western culture reads left to right, so try to avoid any dead space on the left side of an image; even better, place the subject there; like the gradation of light on the face, has nice form, especially easy to see this in ear area,but nice overall (this was a fortuitous result of reflected light coming up from the alleyway pavement)

Revised Version:

Original Image:

His feedback on this image:

• again too much dead space on left; crop in and then separate him from the background by darkening it and possibly desaturating it

Revised Version:

Original Image:

His feedback on this image:

• Graffiti which was distracting in some of the other shots from this day is OK here because the interest is on the left first; crop off the fence on the right - distracting; lighten up shadow on left wall

Revised Version:

Original Image:

His feedback on this image:

• like what you are doing with creative posing/thought process; this one might be stronger with a creative crop losing part of the face and tighter from the bottom

Revised Version:

Original Image:

His feedback on this image:

• would like to have seen more separation between him and the background - giving us 3 levels (hands/face/wall); also symmetrical shots are stronger when you crop them tighter; dead eyes (no catch-light) work here when they normally wouldn't; a grab might have been a better hand gesture than framing like this; graffiti is distracting in this image even though it echoes the tattoos, it's not helping here

Revised Version:

I'm not sure I did a great job revising the images per his advice, but it is helpful to understand how someone who does this for a living looks at these types of images.  John teaches a few classes over at betterphoto.com that might be worth my while when I get some time.  I also just came across a youtube video of him doing a studio lighting demo for anyone who might be interested in that sort of thing. 

The Emotional Power of the Photograph

I had a very moving experience about a month ago that I have shared with a few people since.  It really deserves to be shared with more.

The story is simple.  I stumbled across a gallery on Pbase that stirred such deep emotions inside of me that I had never felt before while looking at photographs.  I don't want to project my experience onto your viewing of this gallery.  I think it's better if you just experience it as I did.

BEFORE CLICKING ON THE GALLERY LINK BELOW:
Here is my suggestion.  Find a time when you will have 7-8 minutes of uninterrupted time and then visit the gallery using the link below.   When you get there, click on the "slideshow" link in the upper right hand corner.   When the slideshow starts, set the "delay" to 5 Seconds.

Finally, if you feel inclined, please take the time to share your response to this experience in the comment section of this blog.   And don't forget to share the same with Jeff Horner, who created this wonderful gallery. 

Follow this link to the gallery of Betty Horner.