On critiques and critiquing

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Something here is off: but why? And how can we make it better?

The above image is meant to be an example: something is deliberately off. But if we didn’t know, how can we fix it? I feel the art of the critique is something that’s unfortunately both underappreciated and under-utilised. There’s no shortage of images online, and this number keeps increasing – but on the whole, it’s difficult to say that volume has any correlation with quality or discernment or curation. If anything, the opposite: volume smothers refinement. Responses to images have been simplified to ‘like’ or ‘favourite’ or some very strange animated GIFs, or worse, vitriol about something relatively minor and unimportant element of the image. Neither is really constructive – the photographer receives no useful information with which to make a better image the next time around. Consideration is rarely given by the audience when making a comment – this can be very dangerous because as the audience, you have no idea if the image was a throwaway or something the photographer believed was the absolute best they could do, and put their heart and soul into. Encouragement and discouragement are equally likely outcomes. Given photography is really a conversation – it is important to talk to (or at least gauge responses from) one’s audience – today we ask, ‘how can we raise the creative and technical bar for images?’

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The Four Things, redux

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One image that appears to break the rules, but really doesn’t: relatively flat light prevents texture from being too harsh, but it’s directional enough to create the curved shadow between the mown and unmown grass, with the line leading to the yellow flowers – that stand out from the rest of the meadow. Order in chaos, guided nature.

In the past, I’ve written about ‘The Four Things’ – what I consider to be the cornerstone elements of a good image. I’ve also written about subject isolation and finding that extra unpredictable magic element that lifts an image to the realm of the memorable. I’ve not written about ‘the idea’ yet, but that’s in the works. What I’d like to do today is revisit the core structure of an image with the benefit of hindsight and simplify those four things as much as possible, with the background context of understanding how our brains work. It might seem like photography and psychology all over again; but remember that photography is really a conversation between photographer and audience – and like all forms of communication, the rules are both cultural and somewhat more deep-seated at an anthropological level.

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Off topic: Just in case

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That proverbial sink

I was playing equipment tetris* for a job recently – a regular occurrence. It occurred to me that most of the hardware I was packing was ‘just in case’; contingency planning if something happens to go pear shaped or I encountered a situation at the very edges of the envelope. There are of course no excuses for not delivering what the client wants, at least if you intend to keep your clients. This means I basically had two complete Hasselblad medium format kits – including backup lens coverage – a set of filters, double the number of batteries and triple the number of cards, critical backups, etc. Add a spare tripod head and brackets to the mix, plus a day bag to work out of, and you’re soon seriously encumbered. This wasn’t even a job requiring external lighting, which brings the packed weight to somewhere in the 50kg region once you include stands and modifiers. In practice, for that once in a blue moon occurrence, you’re glad when you have it – but the rest of the time, your back is cursing you. The rest of the time, you shoot with one body and the zoom. There’s probably got to be an easier way, right?

*Attempting to fit in various camera bodies, lenses and accessories into the smallest possible volume for that amount of gear, but the largest possible volume that would pass for carry on – my record is 24kg overweight for hand carry, at which point Air France forced me to buy another seat. At full price. In one of the front cabins, because the rear one was full – and with a penalty fee for cancelling the old one. I definitely didn’t want to repeat that.

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Off topic: thoughts on turning 30, or – the trouble with choice

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The barrier: mental, physical, or simply too much confusion?

How many careers will the average 30 year old have by the time they retire – if they can even afford to retire? My guess is anywhere north of five. This is a stark contrast with my parents’ generation, where working with the same company for life wasn’t unheard of – and 20+ year stints were pretty common. A move after anything less than five years was seen as ‘unstable’. When I began my career 14 years ago, that timetable was down to three; these days, a year is just fine. Are we learning faster? Probably not. Are we getting more impatient? Definitely. Tomorrow, I’ll turn 30. I am aware that this is probably a bit younger than most in the audience, if the workshop demographics are anything to go by, but I’m both here and I’m not; having graduated and started work at 16, I’m now on my second career and the vast majority of my friends and peers are in their 40s and 50s – which puts me in a rather unique observatory position (or eternal no-mans’ land, depending on how you look at it). If you’ll permit me the digression – I promise we will talk photography at some point later in the piece – I’d like to share some thoughts.

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Formats and creative intent

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The term ‘format’ has come to represent two things in photographic parlance – firstly, the aspect ratio of the capture area or composition (e.g. 3:2, square, 16:9) and also the physical size of the recording medium (compact, APS-C, M4/3, ‘full frame’ etc.) – to the point that we have somewhat generic terms like ‘medium format’ and ‘large format’. How medium is medium? Is that 44×33, or 6x9cm? How large is large – 4×5″, or 20×24″? Capture medium choices are more of a continuum than anything, and all other things being equal, to see a significant difference a good rule of thumb is that you’re going to have to double the linear dimensions – i.e. 4x overall area. But what does all of this have to do with the actual making of images, and is it possible that larger isn’t necessarily better for some things? Absolutely.

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The principles of Philippe Halsman

Dali ‘Atomicus’, unretouched. Source: Wikipedia, used under the terms of the Creative Commons

One of the less commonly cited photographic greats, Philippe Halsman is perhaps best known for his Atomicus portrait of Salvador Dali, above. He also photographed a number of other personalities of the time for Life and other magazines; I personally get the feeling his work is about as close as you can get to a constructed biography in a single frame. I had a discussion with one of my students recently about his six rules for the creation of photographic ideas – and the execution of that portrait. There was no Photoshop in 1948, and retouching was limited to painting over things – in this case, the removal of some of the supports for the various elements in the frame. The final image was take number twenty eight: by that point, the cats had probably had enough. The salient points of Halsman’s life and career are better summed up by Wikipedia, here. Today’s article is a few thoughts on that portrait and his principles in general.

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Artists, creatives and critics

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Almost everybody falls into one of two categories: creator or consumer. Do you spend more time making content or material, derivative or otherwise, than consuming it? Do you prefer to make or view images? Of the creators, there are positive, derivative and negative. The positives try to advance art, science and and knowledge by providing a point of view or product or device or service that hasn’t existed previously, whilst maybe or maybe not benefitting personally from the provision of said novelty. The line between positive and derivative is a blurry one, and perhaps doesn’t cleanly exist – in my mind, it’s down to whether the creator tries to add some element of originality or not; there’s no such thing as 100% uniqueness or 100% invention from nothing. We cannot create without some base of precedent or inspiration, no matter how remote or seemingly unrelated. But the more remote the connections that are made in the creation of something, the more the creator contributes by joining the dots, making the logical conclusions and helping the rest of us see what we might have missed.

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A creative frame of mind, redux

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Things are not as they seem: experimentation, in capture and post

This is an alternative take on an earlier piece I wrote, also on a creative frame of mind: from a different frame of mind, no less. There are some professions where you don’t have to be in the right mood to do your job well. You can be an effective consultant, accountant or middle management without having to be particularly inspired; in fact, imagination is generally not a good thing when it comes to accounting and finance anyway. (At least that’s what Inland Revenue said; if you’re Prime Minister, that’s another thing entirely). However, for creative professions – photography, videography, design, writing, music etc. – there’s no question that your state of mind has a direct and very tangible impact on the outcome of the work. As a photographer, professionalism – the ability to deliver at a minimum standard that’s above your client’s expectations under effectively all circumstances – is the bare minimum. But inspiration is what really make the difference between workaday and brilliant. [Read more…]

Das Wimmelbild in der Fotografie

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During one of the many discussions on composition that took place during the Lisbon Masterclass a few months ago, one of the participants suggested that my compositions were reminiscent of something called Wimmelbild in German. Loosely translated, it’s the concept of ‘teeming pictures’ – or a composition that is extremely full of detail and sub-scenes within the main composition. Two of the better-known examples of wimmelbild are the paintings of Hieronymus Bosch and childrens books by authors such as Richard Scarry, Ali Mitgutsch, Rotraut Susanne Berner, and Eva Scherbarth – and of course the ‘Where’s Wally’ series by illustrator Martin Handford. If there’s a single gestalt that best describes the nature of most of my compositions – wimmelbild would be it. So it’s probably worth spending a little time explaining exactly what it is…

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Some (possibly unexpected) advice for aspiring pros

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Sink or swim: except in the real world, there’s almost never a life preserver.

There are any number of articles on this topic already existing: how to ‘make it’, how to be successful, how to market, how to run a business. There are courses, books and videos. And there are people, who make a business out of teaching others how to run a business. And then there are people who actually make a living doing what you want do: being paid to create and deliver images. For some odd reason, I’ve been getting a lot of emails in the last few weeks from people wondering how to make photography work as a career: corporate switchers, graduates, pre-graduates, people who were doing something else creative but want a change of medium. I have no qualifications to answer these questions or offer absolute advice other than a) I make more than 80% of my income from selling images, mostly commissioned, and b) I’ve been doing this for a few years now. Market conditions in your country are probably going to be quite different to mine, and even if they aren’t, things have no doubt changed from five years ago. So, with that disclosure out of the way, here we go.

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