Creative Photography - Concept…

For me my photography is based on the four x I’s =

• Idea >

• Image >

• Inspiration >

• Impact

The idea is concerned with originality and uniqueness, a unique angle on an event, scene or subject. Take the everyday common scene or subject on, but study it and ask yourself, what have I added or contributed to this capture. Don’t be content with mere content, you progress from being the photographer or taker, to becoming the photographic artist or maker; for the image to cease being seen as a picture, but instead recognised as a craft ~ the photographer’s craft.

The image is a two dimensional concept. In reality it is reflection. A volatile image is one that exists only for a short period of time, as for example a reflection of an object by a mirror. You don’t take anything, all you acquire is a reflection, this is image making. The concept of photography or image making for me is an art, an art that is to do with expression. Expressing what we feel about what we have seen and we do so through the medium of photography.

For me this all begins with seeing, or as the great Irish writer James Joyce put it ~ a simple beholding of the object. Secondly the concept should be sure and contain substance, be structured, and make a statement. Too often there is no concerted effort within the concept, and little for the viewer to grasp. As a recorder and further more as a reporter we have to convincing.

This brings us to inspiration or in or other words motivation, a stimulus, a performance. The legendary American photographer Alfred Stieglitz was instrumental over his fifty-year career in making photography an acceptable art form alongside painting and sculpture. In 1902 he organized an invitation-only group, which he dubbed the Photo-Secession, to force the art world to recognize photography “as a distinctive medium of individual expression”.

To me this is what photography is about; it raises it above the recording dimension, and the reporting dimension into a recognizing dimension, and then later into a reading dimension. Ansel Adams once said; “Photographs should not only be looked at, they should be looked into”. The recognition is therefore two-fold as it is first the photographer in recognizing what they see before them; but is also and equally about the piece of work being recognized and read (interpreted) by the viewer. This is a meeting, a meeting of minds, a collision an impact. If your images do not create an impact, do not enforce feedback, they are as Ansel Adams has put it fuzzy.

“The aesthetic experience is a simple beholding of the object” James Joyce

“I know some photographs that are extraordinary in their power and conviction, but it is difficult in photography to overcome the superficial power or subject; the concept and statement must be quite convincing in themselves to win over a dramatic and compelling subject situation.” Ansel Adams

“There is nothing worse than a brilliant image of a fuzzy concept” Ansel Adams

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Photographing Children

Children are easy to capture if you approach it right. If you approach your session, or your brief moment, with a sense of play and low expectations, you will be rewarded with the best kind of images of children - ones that are spontaneous and playful and reveal the real spirit of the child. Children can go from laughter to tears in an increment of time so small science has yet to measure it. If you are prepared for this you can capture a range of true emotions that you will never get from a suspecting adult. Here are some of my suggestions.

1. Keep it playful. Let them see the image on the back if you shoot digital. Playing hide-and-seek behind the camera works well. Shooting in continuous or burst mode will allow you to capture the pose and the moment they relax and react. It is that post-snap reaction that most often reveals the true character of a child in that moment. Let kids be kids. Think of the photograph as a collaboration between you and the child - you bring the expertise and the camera; they bring the fun, the unexpected, and the spontaneity.


2. Don’t be afraid to use a wide-angle lens for portraits of kids. Get close and wide and capture their face with something in the background that reveals something of their world. Or capture a piece of the firetruck in the boy’s hand, or the (stereotype approaching) doll in the little girl’s hand. Those details need not be in focus, don’t be afraid to shoot wide open at f/1.8 or f/2 - or as wide as you can go. The smaller the number, the less that’s in focus. And that creates a nice soft look that is very consistent with childhood (sadly, not always).


3. Be creative about your angle. Shoot from above them while they look up creates an implied relationship of trust or smallness. Shooting from ground level while they are on the ground gives you an insight into how they see the world.


4. If you’re using flash take the time to learn to use it well. Flash can be harsh and often ruins what would otherwise be a great shot. Children learn to anticipate a flash and their face shows that anticipation, removing the spontaneous look. If you must use it, soften it up with a diffuser.


5. No matter what else you do, keep the eyes in focus. Most of the time. I have a picture of a niece of mine that has her face very soft and out of focus, with only her fingers and her overly-large cookie in focus. I shot many pictures of her that day but none revealed her character more than the cookie-shot. But when the face is the subject of the image - aim for the eyes. Or in the case of a three-quarter face shot, one of them - usually the foremost eye.


6. Don’t be afraid to include props, especially if you’re shooting your own kids. Their favourite toy will be a part of your memories. My mother has pictures of me with a teddy bear I kept until I gave it to a niece only a few years ago. Those photographs are some of my mother’s favourites, and mine as well. So what if the blanky or the binky or whatever you call it is smelly - it’s important to them and capturing that relationship will result in a more meaningful image.

Over the years I have photographed many children with whom I have no prior relationship. This makes me a stranger to them - which adds a new dynamic to deal with - and a stranger to their parents - which adds an element of paranoia, and possible legalities. Let me suggest a couple things.

1. Learn a magic trick or a corny joke. Much of my photography is in countries where english is not spoken primarily. So a magic trick or two breaks the language barrier. Then I snap a picture of them and show them the back. Usually this results in a posing frenzy, but if you have the patience to wait it out (you can delete them later) you will eventually be rewarded with some candid images.


2. Don’t lurk or shoot images in a way that can be perceived as predatory. Be open about this. If you look like you’re nervous and have something to hide every responsible adult within sight will be nervous. Engage adults, show them the pictures. Be very sensitive to the parents’ rights to protect their children. Remember that the rights and safety of children is more fundamental than your right to photograph them. Photographers who appear predatory in any way will give parents more reason for their fears and will make it even harder for photographers to create meaningful and beautiful images of children without arousing suspicion, fear and hostility.


3. I carry business cards and when it is appropriate - sometimes before I shoot, sometimes after (I take my cues from the context) - I make sure the parents get a couple cards. I let them know who I am and tell them I appreciated interacting with their child and what a great kid he/she is. I ask them to email me with their email or mailing address and I ask them permission to send them some photographs as a thank you. The more open you are with people the more they will trust you.

Photographing children can be deeply rewarding. Be patient, be gentle, be prepared for anything, and shoot with your heart as well as your camera.

(Source)

Some weird tricks of food photographers…

1. Spray deodorant makes grapes look like they’ve just come out of the fridge
2. Motor oil is used instead of syrup on pancakes
3. Dull looking pastries? Paint on some shellac
4. Hairspray makes a dried out slice of cake look moist and delicious
5. If you’re photographing cereal then PVA glue or cream cheese looks much more appealing than milk
6. If you’re trying to create bubbles in that freshly poured cup of coffee then reach for the dishwashing liquid
7. BBQ ribs to make your mouth water? There’s a chance they’ve been painted with wood stain and BBQ sauce
8. Trying to get steam to rise off that pudding? Try microwaving water soaked cotton balls and placing them behind food