The Neurotic Photographer

I suppose it is our nature as photographers to act a bit neurotic when we are on a photo shoot.  Probably stems from trying to second guess the conditions wondering through all the what-if-scenarios…what if I were at the other location…what if I waited too long or left too soon…what if I used a different lens…what if I should be on top of the ridge instead of at the bottom…what if I had come the day before or waited until tomorrow…you get the idea.

A neurotic photographer always seems to be in a hurry and distracted, but somehow it works to our advantage. My thoughts are always working, my vision is always searching, and my creative instincts kick into automatic mode. As a result more often than not, some obscure frame of reference suddenly appears. It is less about finding an object to photograph. It is more about seeing it hidden amongst the chaos. I suppose it takes a chaotic mind to produce visions clear enough to find those hidden jewels.

I will often find myself skidding to a halt because something appeared out of the corner of my eye. Sometimes color is the trigger, other times it is a shape, and less often it is a combination or collection of signals that trigger the shutter in my neurotic mind. Out of the blue, my thoughts create an image out of the myriad of visual singles. What was obscure becomes defined. What was chaotic becomes clear. There is no way to quantify the process or even explain how it happens, it just does. What is most difficult is to find an ordinary photo opportunity, one that looks ordinary to the unaided eye, yet being able to see beyond the moment and create a visual image in your mind from the potential of what is there. Only truly neurotic photographers have this ability…or so it would seem.

The neurotic photographer does seem to focus more intently on the world around him. Where others might simply pass by, he sees potential. What others might consider mundane because they are only looking at the moment, he looks beyond the moment and sees it as it can be. The neurotic photographers mind will rapidly compute lighting angles, times of day, seasonal changes, weather conditions, and how all of them will positively affect what might actually be a mundane, ordinary view at the moment. Then he returns, multiple times if necessary until the lighting angle, time of day, season and weather coincide with the vision he created in his mind. Once there, an instinctual command of the mechanics of photography replaces all of the neurosis, and the creative process kicks in. 

Sometimes I wonder what would happen if I were no longer a neurotic photographer. I suppose I would become a mechanical photographer who takes pictures of things and relies on random chance as opposed to someone who visualizes, then captures all the glorious colors of light. The neurotic photographers mind is a colorful thing of beauty. I hope I never lose mine.

Dealing With People: The Hardest Part of Photography

The X's and O's of photography tend to become the easiest part of being a photographer. With a little ingenuity and thought most photographers can come up with creative ideas and exposure solutions to just about any kind of situation. It is simply a matter of understanding how the X's and O's apply to what you are wanting to accomplish. What is most difficult is actually dealing with people.

Most of my photographer friends probably understand what I mean. People can be frustrating and uncooperative, but they can also be charming and a delight to work with. Sometimes you get lucky and work with someone who is excited about the opportunity and just naturally flow through the shoot. They make your job very easy and fun. Then there are some who simply do not understand what you the artist is trying to accomplish. It's not so much they are uncooperative, they just do not possess much energy and it shows in the way they work through the shoot. Yes, it is your responsibility to create an environment where your client feels comfortable, and there are techniques you can use to put your client at ease. That alone can be a challenge especially if your own personality is rather reserved.

It has probably been the most difficult thing for me to overcome because I do tend to be rather reserved most of the time. When I first started photographing people, I concentrated so much on the X's and O's, I often lost connection with who I was shooting and the results were often subpar. However, I have learned a great deal by watching other photographer friends and how they seamlessly blend their shooting with their connection with the client. They make it look so easy and I often find myself envious of their smooth technique. But, this is a learnable skill, one that takes practice and observation along with an understanding of how people react. In short, a smile and some encouraging words go a long way to develop a good working relationship with someone.

By far the most difficult people to work with are those who simply will not follow through with you. You probably know the types. There are the ones who get all excited about doing a shoot with you, then as time goes by you try contacting them about times and locations, multiple times, but they simply will not respond. In some cases they might give you a 'let me get back with you,' routine, but they never do. I'll give almost everyone the benefit of doubt once or twice...in some cases maybe even three times. After that, I stop and go on to something else.

Then there are the ones who continually find another reason or excuse to not follow through. They will in time get back with you, but its always later than you need and usually with another reason why they cannot show up. Again, I give them the benefit of doubt a few times, but after three excuses it becomes clear the photo shoot opportunity is simply not a priority to them and its time to move on.

I suppose the worse ones are the ones who leave you hanging. They never respond to communication attempts, they don't do anything and simply leave you hanging out there wondering if they even got the message. Maybe I was raised differently, but where I come from that is considered rude. Oh, I'm sure they do not intentionally go out of their way to be rude, they just simply do not consider how their actions, or lack of action, comes across to others.

Dealing with people is the most difficult part of being a photographer, but that is part of the equation and one we must learn to work around and keep smiling. I try not to allow those kinds of things bother me, but still...it would be nice if people instead of leading you on, leave you hanging, or ignoring you, would simply say, " I think I'll pass on this one...thanx for asking." That would be the polite thing to do...just say'n.

The Odds Are With You: Using Triangles and Odd Numbers Compositionally

Countless books, articles and videos have been produced about the importance of composition in photography. Trying to encompass all compositional features in a single article is virtually impossible because there are so many variations, however, there are a couple of simple to understand techniques that can be utilized that will improve your compositions; Using Triangles and Odd Numbers.

Triangles are exciting. They form an easy to follow and pleasing shape. In a photograph they can be applied in almost every aspect of composition. Triangles help to break up the image, yet create a closed circuit appeal. Keep in mind they do not need to be perfect in form. Just a hint of shape is often enough and when used in combinations with other shapes they work very well to close an image.

They are very effective when shooting a large group of people or a family. Take this image of a high school prom shoot. Notice how a triangle was used to add interest to the shot. Had the guys been lined up like ducks in a row, the impact would not have been as great. Also, shooting from a low angle gave the guys a bigger more dramatic look and accentuated the triangle.

Here's another triangle group pose used in conjunction with some creative lighting and background. Their shape appears to work well with the triangle form of the stained glass window in the background, plus the shadows, created by simply placing a speed light behind them, also creates a balancing triangle along the bottom portion of the image.

Triangles work well in almost any composition. Take this image of a barn reflected in a pond. Actually there are several triangles used here; the slanting roofs of both barns, the reflection, and the positioning of the barns and reflection create a subtle, odd number, triangle shape. Also, the shadow stretching across the bank of the pond creates a nice long triangle which works well with the smaller forms.

When shooting couples, think in triangles as well. Notice how triangles were used in this composition. By combining straight lines and angles, the image presents an overall triangle shape through the use of receding space. The same principles can be applied to family shoots as well.

Triangles also imply odd numbers as there are of course three sides to the form. Using odd numbers in a composition will generate a greater degree of interest and help the viewers eye follow the story. Take a look at this shot from the Tallgrass Prairie of three coneflowers.

Three flowers shown against a dramatic sundown carries a great deal more appeal than an even number of flowers. Do you also see the triangle created by the positioning of the flowers. Odd numbers used in conjunction with the triangle shape will produce a wonderfully pleasing effect simply because of the random variation it creates.

Triangles can also be shown when used with a large number of a subject. Here is an image of a group of Blackeyed Susans shot using a long exposure to capture the effects of the prairie wind. Without really looking, the eye will pick out the subtle triangle shapes and groupings plus by using a large number of the subject matter flowers, the concept of odd numbers becomes immaterial as it will automatically create a sense of random variations.

Using odd numbers in your composition will generate an easy to follow flow. This late evening snow scene used to great effect the concept of odd numbers plus there are subtle triangles here as well. In this case, the triangles are created by the placement of the objects in the picture. The pile of rocks, the lamp post, and the dock together create a type of triangle configuration...and oddly enough, an odd number.

Here is another odd number setup that works well, even though is uses an even number of flowers. The odd variation comes in the three rows with two at the bottom, three across the middle, and one at the top of the flower arrangement. So even when an even number of objects appear, the random nature of odds can be employed.

Okay, so here's a test. Do you see the triangles in this next image...what about the odd numbers?

Triangles and odd numbers are subtle yet important elements in a photograph that can improve your compositions. Sometimes we just do it without even thinking about it because in reality, using these types of shapes and configurations creates a natural appeal, the kind of appeal we are drawn not just to, but into.