EDITING WITH LIGHT
By MICHAEL PERKINS
THE ETERNAL TUG OF WAR IN PHOTOGRAPHY SEEMS TO BE the pull between extremes of revelation and concealment. Toggling between the strategies of showing almost everything and showing nearly nothing, most shooters arrive at some negotiated mid-point which describes their own voice as a visual narrator. Shuttling between the two extremes, shooters have to decide how much information is appropriate not only for their overall style, but in each specific shooting situation.
Managing light in the moment, rather than trying to re-balance values after the picture is made, affords the most crucial control you will ever exercise over your subject. We tend, as beginners, to shoot things where there is “enough light”, growing ever more discriminating about the kind of light we prefer as we mature in our approach.
One of the most fruitful exercises for me has been those rare occasions in which I have had the luxury to remain in one area over a span of several hours, discovering the nuanced variations that prevail from minute to minute in a single setting. Many times, I have begun this process with an initial concept of the “ideal” lighting for a shot, then, through comparison, rejected that in favor of a completely different strategy. It’s strangely thrilling to come home completely satisfied with an image, even though it’s the dead opposite of the way you originally conceived it.
Waiting for the right light may be more time-consuming, but it is the cheapest, easiest, and surest way to control composition. If one particular lighting situation reveals too much in the shot, diluting the impact of your visual message, waiting for shadows to deepen and for bright spots to shift can make your photograph urge the eye more effectively toward the center of your “argument”. In the image seen above, I could not have sold the idea of a gradual walk from high left to lower right without the light actually working as a kind of directional arrow. A fully lit forest might have been lovely, and was, in fact, available to me just an hour earlier. But by the late afternoon, however, the partial dark helped me edit excess information out of the shot, and, in comparing the two approaches, I like the “less” version better.
Part of getting the shot you want is often learning to see, and edit out, the parts you don’t want, a process which is better when you wait for the “best”, rather than the “correct” light for right here, right now.