Category: Tutorial

What Lies Behind : Photographic Insights – Volume Four

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Camera INFO:  Fujifilm X100F | f/8 | 1/600th | ISO 200

Let’s talk for a minute about being prepared, both mentally and physically, when we are out shooting on the streets.

My approach to street photography is usually more methodical than reactive, working to build an image in layers with deliberate consideration.  It starts by finding something that could be the foundation for a compelling photo, such as an interesting framing element, a unique perspective, beautiful light, or perhaps strong colours.  I will then work the scene for a few minutes, trying different compositions, until all of the static elements in the photograph are arranged the way I want them.  Some photos are done at this point, but often I will then wait for the right dynamic element (usually a person) to enter my frame to complete the image.  This is a very mindful, zen like process that I enjoy immensely.

The danger in this methodical approach, however, is that we may not see or be prepared for any spontaneous photo opportunities that present themselves.  There is a very real risk of “tuning out” while walking through the streets of a city, only re-engaging our creative eye when we spot our next scene, which could lead to us missing wonderful moments.  Always seeing, and always being prepared to react, allows us to avoid this.

Such was the case with this image, seen as I climbed up out of a Paris Metro station on a beautiful sunny afternoon while en route to meet my wife and daughter for dinner.  I saw the composition instantly: the Metro sign framing the top of the steps perfectly, with bright sunshine backlighting the entire scene.  In a moment of pure serendipity this gentleman stopped at the top of the stairs for a few seconds and I knew I had my photo.  I loved his posture, and hats always make for a great silhouette.  I managed to snap 2 or 3 frames, standing on the steps as people moved passed me, and then my subject walked out of frame.

We have talked about the importance of seeing constantly when on the streets, but just as important is to ensure that your camera is ready to go.  I have worked with photographers who pack up between scenes, or who always have the lens cap on except when they are physically taking a photo.  These actions create a barrier that will result in missed images.  I prefer wearing my camera on a sling, allowing it to hang out of the way by my right hip.  I also always ensure my camera is set up to immediately grab an image.  Let’s talk about that for a second.

I often change my camera settings when I am deliberately building a photograph, perhaps manually focusing, manually exposing, adjusting Exposure Compensation, etc.  When I am done with that scene, however, I always reset my camera back to the same settings (my “home base”).  I have alluded to this in previous posts, but home base for me is Aperture Priority Mode (around f/8 depending on the light) with Auto ISO set to give me a minimum shutter speed of 1/320th (again, depending on the amount of light).  For other people home base might involve setting a manual exposure and zone focusing.  How you set your camera up isn’t the important thing, it is that you develop the habit of going back to those settings when you are just walking around, so that your camera is ready to capture an image that suddenly appears in front of you.

Always be seeing, always be ready.  

Cheers,

Ian

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About this series:

Ansel Adams once said: 

“The single most important component of a camera is the twelve inches behind it.”

This statement is absolutely true.  To quote David Hobby, “we should all strive to become thinking photographers.”  I love it when my students ask questions about a photograph because I can see their minds at work.  Sometimes these questions focus on how an image was made (the craft), sometimes they focus on why it was made (the vision), but they always show a student’s desire to improve their craft.

When I look at another photographer’s image I am always interested in the photographer’s thought process:  What drew their eye in the first place?  What did they see in their mind?  What was their process for the creation of the image?  How did they go about achieving success?

With this in mind, I have spent the last year writing a book featuring my images and the stories behind them.  The book will come out later this year, but in the spirit of open source education I have decided to publish 2 dozen of these photos and essays here as well.  My hope is that everyone can benefit in a small way from this sharing of ideas, much like I have benefited from other photographers who shared with me.

UPCOMING WORKSHOPS:

What Lies Behind : Photographic Insights – Volume Three

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Camera INFO:  Fujifilm X-T3 with 23mm f/2 Lens | f/5.6 | 1/500th | ISO 400

“I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images I live with them.”

– Bruce Gilden

I have long held a fascination with people.  I think it stems from my former career as a paramedic, where I would have ten or twelve patients in my ambulance each shift.  These patients came from all walks of life:  celebrities, newborns, holocaust survivors, CEOs, tradespeople, athletes, veterans… each with their own story to tell.  This love of meeting new people and hearing their stories subsequently influenced all aspects of my photography, and most definitely my approach to street photography.

When I see somebody that I think would be a great subject it is usually their appearance that strikes me at first.  It might be an outward characteristic:  their smile, their eyes, perhaps the outfit they are wearing.  Just as often, however, it is something more intrinsic… some indescribable strength, a sense of wisdom, or perhaps a vulnerability that you can see and feel from a block away.  Great subjects come from all walks of life and are a gift to us when we are out shooting on the streets.

Such was the case with the subject in this photograph, who I saw last year while I was teaching in Toronto.  There was something striking about the way she walked, a strength and sense of purpose in her step that was instantly noticeable.  I saw this photograph in my mind within seconds, with her red hair and green dress set against the darker buildings she was walking beside.  I decided to crouch down, shooting upward at the subject, to emphasis this perceived confidence and strength.

My camera was in Aperture Priority Mode (at f/5.6), with Auto-ISO set to maintain a minimum shutter speed of 1/500th (which is usually fast enough to freeze a subject’s motion).  You can see in the settings above how the camera raised the ISO to 400 to maintain my desired shutter speed.  I knew that these settings would nail the exposure for me and, because the subject was approaching quickly, I simply pre-focused on the sidewalk where the subject would be when she walked passed me, re-composed, and a second later clicked the shutter.  

Photographs like this happen fast.  I would say that the total amount of time, from first seeing the subject to capturing the image, was maybe ten or twenty seconds at the most.  What allows us to capture these photos with consistent success is practice.  We need to have the technical aspect of our photography nailed down, so that we don’t have to think about it while we are focused on the process of crafting our images.  I believe it was Seneca who said:

“Luck is what happens when preparation meets opportunity”

Preparation (practice) allowed me to capture this image, and all it needed in post production was a slight contrast boost and a crop to clean up a distracting element.

To circle back to the beginning of this post, what was it that made me want to take this photo again?  It was, undoubtably, the subject.  Great subjects like this deserve to be photographed.

Until next time,

Ian

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About this series: 

Ansel Adams once said: 

“The single most important component of a camera is the twelve inches behind it.”

This statement is absolutely true.  To quote David Hobby, “we should all strive to become thinking photographers.”  I love it when my students ask questions about a photograph because I can see their minds at work.  Sometimes these questions focus on how an image was made (the craft), sometimes they focus on why it was made (the vision), but they always show a student’s desire to improve their craft.

When I look at another photographer’s image I am always interested in the photographer’s thought process:  What drew their eye in the first place?  What did they see in their mind?  What was their process for the creation of the image?  How did they go about achieving success?

With this in mind, I have spent the last year writing a book featuring my images and the stories behind them.  The book will come out later this year, but in the spirit of open source education I have decided to publish 2 dozen of these photos and essays here as well.  My hope is that everyone can benefit in a small way from this sharing of ideas, much like I have benefited from other photographers who shared with me.

What Lies Behind : Photographic Insights – Volume Two

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Camera information:  Fujifilm X100F | f/7.1  | 1/550th | ISO 200

It was 2:30pm as we emerged from Vancouver International Airport into the warm summer sun, 15 hours after we had checked out of our hotel in Paris and started the long journey home.  Somewhere over the Atlantic my enthusiasm and love of travel faded, replaced by fatigue brought on by the long flight, the climate controlled cabin and, of course, the 9 hour time difference.

As we started walking to our car I saw this photo right away; the strong backlighting catching my eye as it created silhouettes of the people moving along the walkway.  The scene had everything I love in an image:  beautiful, high contrast light and strong lines (vertical, horizontal and diagonal).  Wonderful colours with interesting reflections.  It was all right there.

I saw it, but in my exhausted state I just kept walking.  

Thankfully, for reasons unexplained, my favourite Chuck Close quote popped into my head:

“Inspiration is for amateurs.  The rest of us just show up and get to work.  If you wait around for the clouds to part and a bolt of lightening to strike you in the brain, you are not going to make an awful lot of work.  All the best ideas come out of the process; they come out of the work itself.”

I hate his misuse of the word amateur in this quote, but I love the sentiment.  Great photos come from the effort, they come from rolling up our sleeves and getting the work done.  There are days when photography feels effortless and we come home with a memory card full of pure awesome.  There are other days though, days like this one, where we just need to power through whatever we are feeling and get the job done.  Great photos deserve this.

So, I went back.

My camera was already in Aperture Priority Mode and Auto-ISO when I pulled it out of my bag, and a little negative Exposure Composition was all that was needed to place the exposure where I wanted it (with the highlights somewhat controlled and the dark shadows crushed a little bit further).  The composition itself came easily, with the tower in the top right balanced against the backlit walkway that starts in the lower left of the frame.  

I was happy with these static elements, and knew that the people walking through the strong backlight, captured as silhouettes, would provide the missing dynamic elements that were needed to complete the image.  The first few people I photographed were quite tall, their height causing them to blur into the darkness around them.  I prefer silhouettes of people to be clean and fully backlit, however, so I shot for a few more minutes until I had the photo seen above.  Once I was satisfied with the image I rejoined my oh-so-patient family and we continued our commute home.

The photo required very little work in post, just sharpening and a slight contrast boost. 

…

Craft and vision are essential parts of photography, but they are of little value without execution.  I am sure all of us, at one time or another, have walked past an image without shooting and then regretted it later.  I almost did that on this day, but I am glad I didn’t.  The next time you encounter a situation like this just make the image, push through your hesitation and take out your camera.  The reward is worth it!

I hope that you enjoyed this instalment of the Photographic Insights Series.  

Until next time,

Ian

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About this series:  

Ansel Adams once said:  

“The single most important component of a camera is the twelve inches behind it.”

This statement is absolutely true.  To quote David Hobby, “we should all strive to become thinking photographers.”  I love it when my students ask questions about a photograph because I can see their minds at work.  Sometimes these questions focus on how an image was made (the craft), sometimes they focus on why it was made (the vision), but they always show a student’s desire to improve their craft.

When I look at another photographer’s image I am always interested in the photographer’s thought process:  What drew their eye in the first place?  What did they see in their mind?  What was their process for the creation of the image?  How did they go about achieving success?

With this in mind, I have spent the last year writing a book featuring my images and the stories behind them.  The book will come out later this year, but in the spirit of open source education I have decided to publish 2 dozen of these photos and essays here as well.  My hope is that everyone can benefit in a small way from this sharing of ideas, much like I have benefited from other photographers who shared with me.