It is true, that this world is blessed to have some beautiful “wonders” of nature and scenery. And when you look at these for the first time, you have a certain fear that someone or some thing may ruin the beauty of that place. Kind of an “save the environment” fear comes to all of us when you see something spectacular. How can we preserve some of this beauty? That is a challenge for all of us. As photographers, we should do our part to promote the beauty, and do what we can to make sure it stays beautiful for future generations. Here is some of those “Many Wonders” of the earth I am talking about:
This special presentation of the “wonders of the world” have been a special presentation of: MANY WONDERS, A SPECIAL WEBSITE ON FACEBOOK. Please go to their website for more fantastic photos and information:
In the artistic community much is said about style and how that style is more often than not linked to some innate talent. The style side is mostly true. Each artist, irrespective of their specific discipline, brings their own voice and vision to their chosen art. That which is internal to the intellect of the artist, is unique and independent of external training.
It would be convenient for us to instantly associate a photographer’s work as that of their own signature style. Were it only this easy, but alas, it is not so transparent. Theoretically, most well known artists have an inherent recognizability; for example, in a room full of impressionistic paintings one instantly knows which images are van Goths’. Yes, but not always.
The question is are van Gogh’s paintings all so unique they will always be instantly recognized or is it that we have been so widely exposed to them that most his work has been seen by us before? My experience would suggest the latter. Before anyone starts writing me, give this just a bit of thought and perhaps a personal visit to the van Gogh museum in Amsterdam. Think of Pablo Picasso, his work is instantly recognizable right? Well, maybe not… that is only true through prior exposure to his paintings. If my art history courses are remembered correctly, his work is usually divided into 7 sections or time periods. The first three are very different from that of the later sections. If you see representative examples of all seven periods together, one quickly recognizes distinctive transitions and minor elements that are thematically carried through from one phase to the next. If you did not know, or had never seen a selection of his work from all these periods, you would be hard pressed to identify them succinctly.
The point is that Picasso and van Gogh both developed unique and distinctive styles over the course of time. To that end, the photographer is no different, perhaps just a little subtler. For the purpose of this essay, we are keeping “photographic” tricks and “darkroom” magic between minimal and intermediate levels. Extreme manipulations, while artistic, slip into the world of graphic art and many would argue, lose their place as purely photographic art.
In photography, we find the same kind of pseudo-recoginition. When we examine the portraits of Karsh or the landscapes of Adams they are often mentioned in the literature as being both distinctive and fundamentally unique to the inherent style of the photographer. Both are responsible for creating truly iconic images which now have a universal recognizability. In this way, they share a common thread to the works of van Gogh and Picasso in their notoriety. However, I have seen portraits with every bit of Karsh’s style and vision, that are every bit as well done, but were done by others and predate Karsh, forcing the viewer to question the assumptions being made. Now I am a big Karsh fan and have been since I was a boy. In a room full of his work, that one might find at the Chicago Art Institute, the style simply screams at you. Similarly, I have taken black and white stills of Half Dome at Yosemite and if you didn’t know better it would be impossible to say which was mine and which was Adam’s. I did not copy Adams in any way, except for the general subject matter. I have one of his famous images on the wall of my office too. It is hanging there as a sort of inspiration, a reminder if you will of what constitutes a great image and a truly creative vision.
We photographers are often faced with a minor dilemma; we often know exactly what we want. That does not mean we will have the right conditions to create it. I am talking non studio images here. The studio is a different thing. Every bit as creative, it is a control of conditions inside or lack of control outside, that makes the difference. You can go the same place, at the same time of day, a thousand time and never completely reproduce the exact conditions of any previous encounter. That is the challenging situation the photographer faces every time they picks up a camera. I believe that it is in how the photographer overcomes this challenge that defines their own personal style. It is how our unique vision of the world interacts with how the world is being presented, that produces that personal style. I must warn the reader that the style differences among many photographers is subtle and at times barely discernible to the naked eye.
There are those that say it can be learned and talent is not required. There are those who say the opposite. There are others, I among them, who say that learning hones an innate talent. Every one of us has a unique vision of the world and not everyone wishes to express it and fewer still wish to express it via photography. None of us can ever be a Karsh or Adams or any number of other well known or lesser know photographers of the past or present. I often photograph with a fellow photographer. We stand side by side and use essentially the same equipment, yet our images are different and although we recognize it instantly most viewers would be hard pressed to tell whose was whose. On the other hand, if one were to examine our respective body’s of work the comparison reveals individual uniqueness in our distinctive styles.
Ultimately, both the famous and the anonymous photographers offer something worth learning. Wikipedia publishes a list of famous photographers. I never pass up a visit to any museum of art or any collection of high quality images. I would like to think I have developed one of those individual, instantly recognizable styles. I find it rather impossible to look seriously at any photograph and not learn something about image making and presentation.
My personal philosophy is quite simple. I try to present my subject in the best possible way, given the prevailing conditions. This is however, highly subjective and purpose dependent, resulting in the occasional failure or lack luster outcome. When that happens one of three thing seems to have influenced the objective: the light conditions were poor, or I lost a crisp focus on the subject and/or purpose, or I lacked the skills and necessary equipment to deliver the vision I set forth to create. The reality is I am good at what I do and when compared to others I possess a unique view of the world, but is it instantly recognizable? Why, not at all.
You can do what I have done, continue to hone your individual skills and express your unique vision.
Dennis’ tips for revealing your unique vision escape (in no specific order):
Inspiration: We all need it. Some of us thrive on it. Some of us inspire others. All of us are inspired by someone or something. It is that inspiration that turns the ordinary into the extraordinary. Let it work for you. I carry a pocket camera with me almost all the time because sometimes I find a unique moment and point and shoot. They are not all great. Most are just ordinary, but every once in a while I get inspired to go back with my SLR and do it right. We all need to be open to the idea that inspiration occurs when and where we find it or when and where it finds us. Once, my wife and I were touring a 15th century cathedral and I was inspired to photograph the vaulted ceiling. I laid on the floor and did just that, much to her embarrassment I must add, but the results were outstanding.
Self Expression: Why do we take pictures or make images? For me, it is my form of artistic expression. For others they sing or play an instrument, draw, sketch or paint, while others act or write. For me, photography is my most important self expressive activity. If you choose photography as your expressive medium, you are also choosing to share your unique vision of the world with that world.
Lastly, it is chance, pure and simple that often has the greatest influence on our work. It is what we make of those chances that ultimately defines our individual vision of the world and culminates in the expression of our unique style. Most forms of self expression are directed outward from ourselves towards others. Some would say photography is not just self expression, it expresses or even defines who we are. I think I am still trying to define myself and so for me, photography expresses what and who I am at any randomly given point in time although I am not sure that it ever captures any real totality of my existence.
I have often said, “Some day I will grow up. When I do, I’ll let you know.” I strongly suspect my epitaph will read something like this: “He always said he would let us know when he grew up. He finally did.
About the Author:
Dennis Nikols is a long experienced: geologist, philosopher and photographer. He is principal photographer at As I Found It ( asifoundit dot com ), Ideal Totem ( idealtotem dot com ) and writes a photographic blog adding 3 to 4 moderate length essays/month. As I Found It’s blog.
Thanks also to PictureCorrect for their great photographic articles, and this posting.
Why Taking pictures of your
Pets will make you a better photographer:
If you have a pet, it may stand to reason that you already point your camera at it a fair amount. Why not? Pets, whether they are cats, dogs, or even chinchillas, tend to be photogenic. Beyond that, as a photographer, your pet is a subject you already share a strong emotional bond with, so it’s only natural to take a few snapshots along the way.
As a photographic genre, pet photography can go well beyond that of the simple snapshot. If you start to dissect the various disciplines it requires, you may notice that it involves a broader spectrum of skill sets than many other kinds of photography. From lighting, to camera control, to managing a difficult subject, photographing your pets can help you learn, and reinforce a great deal of camera craft that can be transferred across many other genres.
The important factor here is that your subject, your pet, is generally far more accessible to practice with than other subjects, such as people.
Even if you think pet photography isn’t something you’re ultimately interested in, this article is intended to demonstrate the skills and disciplines you can hone on pets, and then transfer effortlessly to other genres.
If you’re new to photography, this is the most important point. Things like aperture,shutter speed, and ISO all need relentless practice and reinforcement when you’re learning your way around the camera. Sure, you could just use an apple on a table, but having a moving subject will force you to act quicker, and make decisions on the fly. This kind of mastery over your camera will allow you to react faster to any changes in your subject, and will allow you to catch many images you may otherwise have missed while fiddling with the dials.
One of the most given pieces of advice to photographers is to always have your camera with you. It’s good advice, but it’s not easy to implement. By dedicating yourself to photographing your pets, you’ll already be taking a step in the right direction. This is especially true if you have a dog that you walk regularly. Just make sure the camera goes with you on your walks, and you’ll be ready for any opportunity that presents itself, including ones that don’t involve your pet.
As a bonus, dog walking is an excellent excuse to be out during golden hour every day.
Photographing pets is hard. This difficulty has nothing at all to do with any technical skills with the camera. Animals tend to be impatient, disinterested, distractible, and sometimes skittish. With the exception of reasonably well-trained dogs, you will probably have a hard time getting most other animals to do what you need. Just imagine trying to give an iguana commands.
The key here is patience. Often you will have to wait frustratingly long periods of time before a shot presents itself. By understanding this, you can focus your energy on the shot when it does appear, rather than the time leading up to it. It is also usually better to wait for something natural to happen, than to force something artificial.
This kind of patience can take a while to develop, but it is a high value skill that transfers well across the photographic disciplines. Your wildlife photography, portraits (especially child portraits), street photography, and sports photography would all benefit from this trait.
Animals are unpredictable. This is great news if you’re trying to hone your skills. Leveraging that unpredictability as a learning tool will allow you to react to different situations much faster. This could be as simple as pumping up the ISO without thinking about it, or even swapping lenses in seconds without a thought.
The best part is that it’s this unpredictability that often leads to the most interesting photos, or at least the funniest.
Whether it’s natural or artificial, lighting is probably the most complex and multifaceted of the photographic skill sets. While not difficult, there is a lot to it, and it takes a significant amount of time to learn, and then master.
With a pet, you have constant access to a test subject for any new lighting technique you want to try. If something isn’t right, you can take your time and alter things as you need, without having to worry about taking up someone else’s time.
Individual lighting techniques tend to work as well with animals as they do with people. Once you have a setup the way you want it, often all you will need to do to switch to a human subject, is raise the lights up. If you’re using natural light, you wouldn’t even need to do that.
There is a lot of contention out there about whether or not photographers should share photos of their pets. That’s up to you, nobody else. Share them or not, as long as you’re putting the hours in and getting the experience, that’s all that matters.
Hopefully you can see how dedicating time to photographing your pets can help you to improve a broad set of skills simultaneously. By removing accessibility issues and keeping costs minimal (a bag of treats is a cost, right?) you can ramp up the time you spend practicing, and reach the top of the learning curve in no time.
If nothing else, can spending some extra time with your pet be a bad thing?
*** A special Thanks to Digital Photography School, and John McIntire for this incredible article about Pets. I know that taking good photos of pets is truly an art, and this is great advice. Thank you John.
John McIntire is a portrait photographer currently living in the UK. He studied commercial photography at Leeds Metropolitan University. He is obsessive with photography and is always trying to learn something new. All the above photos were taken by John McIntiere except where noted.
THIS ARTICLE ORIGINALLY PUBLISHED IN: PICTURE / CORRECT