Rules or No


Rules or No

Camera work, as any work, can benefit from learning the basics. Basics include knowing the functions and effects of shutter speed, aperture choice, ISO, the multitude of combinations of these, lens focal length, tripod use, flash and other external lighting if desired, and others. A foundation in image making ought also teach the basics of composition, perspective, and how lens choice affects the image, use of focus and out-of-focus area; using light and shadow, shapes and lines, and colour and black and white in the image.
The technical and mechanical aspects of camera and lens are not subject to personal interpretation or opinion. They are simply the physical and optical facts that we all use and rely on the same way.
However, as soon as we move on to all the other variable options in choice of specific camera settings just before we click the shutter for an individual image, it all becomes a free game of opinion, interpretation, preference, like and dislike. Often, though, and especially during the early phase of our practice, these are based not in understanding and/or experience of how specifically those settings can alter the image. This makes the creative process a rather haphazard one. Haphazard in and of itself is not undesirable, but, if left unchecked, can lead to never reaching beyond a trial and error approach, which, though an important phase in the learning curve, prevents the development of being able to pre-visualize the image before clicking the shutter. Having an idea of the final image in advance is an important aspect of the creative process in general, not only in photography.

birch forest panorama

Then, to make the creative process a conscious, deliberate, and intentional one, we turn to learning composition, to learning how to tell stories with photographs by use of perspective, lighting, colour, placement of compositional elements, to learning how to look at and interpret images. Photo magazines deliver articles on composition every month, books are written, and courses taught plentifully on all these topics. Mostly, we learn of the ‘Rules of Composition’, such as Leading Lines, Fill the Frame, Rule of Thirds, Leave Space in Front of the Subject, Never use Wide angle Lens for Portrait, Always have a Focus. These ‘Rules’ are acceptable, though not necessary, guides for the first and early days of our path of image craft. Very soon, however, they can become hindrances and limitations to free creativity *if* followed and adhered to routinely.
For sure, in many of my images I use one or the other of these rules, but it is always a choice made case by case, image by image, whether or not a rule is supportive to the image vision and intent. Many strong images work exactly because composition, technique, or camera settings do not follow a common rule, because the frame was not filled and leaves emptiness to let the mind wander, because of not having leading lines towards to subject but causing diversion of interest and focus, because the subject is boringly smack centre, or shutter speed, aperture, lens, were chosen contrary to ‘normal’ recommendations.

forest in passing

Ultimately, all the variables have to come together to form the final image in accordance with the vision intent for the image. And those are the very creative core of which there are no fundamentally right or wrongs. Subject, vision, intent and purpose, the audience if any, the technical factors of camera settings, lens choices, lighting, timing, composition, and even where and how the image fits into the larger context of the long progression of images that came before and will come after, all contribute to the one question of whether or not an image fulfills and succeeds as a ‘great image’.
But beware …. as in so many areas of skills and life, one can only abandon rules and techniques when and after one has put in the time and effort of learning a rule or technique to abandon in the first place.
For example, as much as I dislike the term ‘Rule’ of thirds, I do apply it in as many images. Sometimes obviously, sometimes subtly but always as a conscious decision. Besides, there may be many layers of how to apply the somewhat recipe-like rules in any give image and I may find new ways of using leading lines, or patterns, or colour etc. for a specific photograph. We both may be following the same recipe, but still yours tastes slightly different than mine. That’s fabulous!

Rules or No
Well, how about we call them suggestions and options, learn them, use them, discard them, then use them again, and have them as one of many tools in our camera bag to be chosen wisely.

take good care and keep seeing pictures
peter

Knowing


12 october 2011
following up on previous post from 10 october

So there, we like to label things. When first perceiving something new, our brain instantly asks ‘what’s that?’ and we just as instantly try to answer with a name of the thing. Naming and labeling helps us categorize, feel familiar with, make sense of the multitude of things and stimulus we receive from our environment.
Knowing the label we believe to know the thing. Knowing the name of a thing or of a person, we assume to have familiarity with that thing or that person.
Jonathan? Sure, he lives in that house at the end of the road, doesn’t he? Sure, I know him.
Yes I have read that article on the famine in Africa, I know all about it, it’s horrible.
‘Mom! I don’t want you to take me to Europe, I hate Europe. I know, Bobby was there last year with his parents and he hated it, I know what it is like there!’.

But do we really? Can we know anything without having experienced it? Felt it and lived it? It is not a simple feat to distinguish between knowing and mere opinion, even be it ever so based on intellectual learnedness. We can read all we want and listen to as many teachers as we can find, unless we experience with our own bodies and mind our knowledge remains an intellectual construct. This is not to say such intellectual constructs can not be of real-life service. We do not need to jump or fall off the height of a 100 feet bridge to understand the consequences. Yet, even that is still only intellectual knowing and understanding.
Now how does all this relate to photography? Well, consider the last time you were at an art show, whether photography or other. The majority of works, even abstracts, were likely displayed along with a title. I am not referring to image-labels that simply provide a means of archival identification for the individual image, such as ‘Street Scene Paris # 5’, or ‘Yellow Flower’, but titles that say what the image is supposed to mean, to tell and inform, that provide the story.
Clearly, there are circumstances in which it is appropriate to add words to the image. Consider a photograph of a crowd in the street, clearly in uproar, yet the image does not provide any clue as to the reason for the uproar. In a documentary, journalistic context a title and possibly even lengthy words of explanation may be very appropriate. Were the image to be displayed as art, maybe for it’s purely photographic merits, however, how would a title influence our viewing and experience of the work?
We can consider various possibilities. If an image does not have the strength and clarity to express itself, can a title make up for it? Is it necessary for an image to ‘tell a story’ at all? Should the artist provide a meaning, an interpretation, along with the image? Why? Why not? Should we, as the audience and viewer, expect to be served a story and meaning along with the photograph? Every photograph?
When you look at images the next time, try to get a sense of how the mere reading of a label, a name, a title, influences the path our mind takes in interpreting and finding meaning in that work? How it shifts and directs the experience of the image. How it can subtly or not so subtly limit the relationship our own mind could create with the work.


Viewing art is an intimate exchange and communication that takes place within ourselves. It has the potential to find meaning from within the context of our own personal life experience that each of us, individually, brings into this exchange. We all relate not only to art, but to people and their behaviours, and events and circumstances in all areas of our lives, in our own personal ways.

Thus, I also prefer to decide for each image individually and depending on the context of use whether a title is necessary, desirable, or limiting the potential for the viewer, and if a title is chosen, which purpose it may serve and why. The title becomes an integral part of the final work, after all, and deserves the same deliberation as the image itself.
enjoy the autumn colours with or without meaning
peter
http://www.crimsonbamboo.zenfolio.com