I once heard someone say that “photography is about capturing the essence of things rather than just their physical appearance.” It reminded me of a quote by Ansel Adams that I often cite in presentations: “A great photographer is one who fully expresses, in the deepest sense, their emotions about the subject they’re photographing.” These two quotes elegantly convey that photography is not merely about depicting objects but capturing the emotions and essence behind them.
When we stand in front of a scene, we experience the moment with all our senses: hearing, seeing, smelling, feeling, and tasting. As photographers, we take this emotional experience and reduce it to one sense—vision. Our task is to evoke all the senses in the image.
We've all heard that a picture is worth a thousand words. Not to get too technical, but 50% of our neural tissue is directly or indirectly related to vision. Our brain processes an image in thirteen milliseconds, and it takes us half a second to respond to a visual stimulus. How many words can you read in 13 milliseconds?
Photography functions as a universal language, governed by its own set of grammatical rules akin to spoken languages. As with any language, photographers must begin with basics: the equivalent of alphabets, syllables, and words. In this analogy, the camera and gear serve as the alphabet, providing the foundational tools. Syllables represent the fundamental concepts of photography, such as exposure, depth of field, and shutter speed. Finally, the visual elements become the words, which photographers must skillfully organize to craft coherent sentences, paragraphs, or stories.
In photography, there are specific elements we look for to find our words or focal points. Through evolution, we have trained our eyes and mind to be drawn to certain things. Our minds know what is important and what is not. The human eye is drawn to brightness, color, contrast, texture, and human elements, which tend to anchor the eye.
Look at the image (Example 1) and close your eyes for a few minutes and open them quickly. When you look at this photograph, your eyes are immediately drawn to where there is maximum contrast. As photographers, we need to control how the viewer looks at the image. In this case, the lightest part of the image leads the viewer from the bottom left and continues the visual path to the upper right side. Having a dark shadow created by the trees on the right keeps the viewer inside the image. As photographers, our job is to create the visual path for the viewers to be led to the focal point.
Example 1
Color is a vital element in the language of photography, capable of profoundly affecting mood and emotional response. Ensuring that color is the dominant component of your composition is typically crucial in photography. Understanding how your image’s color scheme—whether predominantly analogous (harmonious colors) or complementary (contrasting colors)—relates to the subject is essential (Example 2). Adjusting contrast levels can significantly impact not only the mood but also the tones, textures, clarity, and overall color of your photo. While contrast may not be the primary consideration during the initial capture, it undeniably plays a significant role in shaping the final image. Points of contrast serve as focal points, adding depth and dimensionality to the image, creating a pronounced 3D effect. (Example 3)
Example 2 Analogous
Example 3 Complementary
Now that we have discussed some of the foundational elements (syllables), let’s focus on putting the elements into practice by forming coherent ‘words’ in our photographic compositions. One of the most crucial ‘words’ in photography is composition. It enables you to bring order, balance, and harmony to what might initially seem chaotic. Just as the arrangement of words in a sentence determines its coherence, the balance within a composition dictates its visual impact. If the elements within an image are not appropriately ordered, it will fail to convey its intended message. What exactly do we mean by balance? When identifying focal points or visual elements, it’s essential to distribute them evenly throughout the image, much like the balanced arrangement of words in a sentence. Understanding the geometric principles behind why certain compositions succeed while others falter is key. This knowledge equips you to capitalize on opportunities in the field, enhancing your ability to create compelling imagery.
One effective measure in composing visually pleasing images is the use of the baroque diagonal. Conventionally, most of us have been trained to read from left to right, and similarly, when we look at an image, our eyes tend to scan from bottom to top. By arranging visual elements along a diagonal that goes from the bottom left to the top right, the composition naturally becomes more appealing
(Example 4). In a well-composed image with proper balance, the focal point is readily apparent. It becomes evident where the photographer intends the viewer’s focus to lie. Additionally, another valuable exercise in the field involves subdividing your frame into smaller sections (Example 5). This visual exercise prompts you to assess whether each subdivision contributes to the narrative or introduces distractions that disrupt the harmony of the composition. The goal is to create a cohesive composition where each subdivision enhances the storytelling aspect of the image.
Example 4
Example 5
The next grammatical element as it pertains to photography is space. If I were to say, "Let's eat grandma and grandpa." You'd probably think I was being gruesome. However, if I said, "Let's eat, grandma, and grandpa," the addition of commas changes the sentence to a warm invitation for a family meal. Space is equivalent to punctuation, such as commas, semicolons, and periods.
Perched atop a rugged granite headland and gazing out over Carmel Bay, the lone Cypress stands as a majestic symbol of Pebble Beach, California. Revered as a Western icon and hailed as one of North America’s most photographed trees, it holds a timeless allure for photographers and nature enthusiasts alike. Yet despite my anticipation, I lament missing the opportunity to capture its essence. In 2017, when I finally encountered the Lone Cypress, my eagerness overshadowed my attention to detail. Focused solely on the tree itself, I failed to consider the composition carefully. Regrettably, I positioned myself at the wrong angle, aligning the tree’s crown with the horizon and inadvertently flattening the image. This oversight, a lesson in the nuances of composition, underscores the importance of foreground-background relationships and maintaining visual depth in photography. This is like making a grammatical error by forgetting punctuation.
(sample 6).
We’ve all experienced conversations where the story could have been told in five minutes, but the speaker continues for 30 minutes, leaving everyone waiting for the conclusion. Similarly, in written stories, excessive sentences and words can dilute the impact, leaving readers disengaged. The same holds true for images: unnecessary distractions within the frame can diminish their overall impact. So, how do we eliminate these distractions? We know that the eye is naturally drawn to brightness and color. By desaturating and darkening elements, we want to downplay, we can reduce their significance. Additionally, cropping out unnecessary elements can further eliminate distractions (sample 7). Take, for instance, the image of the loon: I’ve darkened the background and lightened the beak and head of the loon to draw your focus precisely where I want it—on the striking red eye.
Example 7
Photographing forests can present a myriad of complexities, often making it challenging to ensure the focus is just right. However, when fog or mist blankets the scene, this complexity is beautifully simplified. It’s no wonder why misty or foggy forests hold such allure for photographers. The presence of fog adds a layer of minimalism to the scene, making it all the more compelling (sample 8).
Sample 8
Now that we've covered the fundamentals of creating a story using the elements of photography, let's focus on the last crucial component: the visual pathway. Regardless of your genre or subject matter, establishing a strong visual pathway within your frame is essential to crafting a compelling image. Take, for instance, Ansel Adams' iconic photograph 'Moonrise over Hernandez.' Adams spent 30 years perfecting this image, meticulously manipulating luminosity, color, contrast, and geometry to create the desired visual pathway. This process requires patience, waiting for the perfect light to illuminate the scene. When evaluating your own photographs before sharing them, consciously assess how the viewer's eye travels through the frame. Does it navigate to the intended focal points? If not, adjustments are necessary. Once you've addressed these questions and are satisfied with the answers, you've successfully crafted a perfect 'sentence' in the language of photography, adhering to all its rules and principles.
As we conclude this discussion, I urge you to remember three key principles essential to your journey in photography. First, embrace the miracle that unfolds before you. From the quiet moments before sunrise to the breathtaking scenes in nature, each moment is a testament to the beauty of this art form. Let the process of capturing these moments be your reward, with the final image merely serving as the icing on the cake.
Secondly, resist the urge to compare yourself to others. In a world filled with judgment and comparison, focus instead on your individual growth and progress. Set the goal to continually improve with each photograph you take, recognizing that your journey is uniquely yours.
Lastly, always remember to soak in the miracles. In the pursuit of capturing moments, it’s easy to get caught up in technicalities and perfection. But never lose sight of the wonder and awe that drew you to photography in the first place.
As you continue your photographic journey, I leave you with this poignant quote from Freeman Patterson: “A person can be fluent in any number of languages and in visual design (craft) and yet have nothing of value to express. Knowledge of craft does not produce art – in language or picture. The production of art, however, depends on the knowledge of the relevant craft, and fluency (advanced knowledge) helps enormously.”
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