the photoshooter's journey from taking to making

OF CLEARINGS AND COVER

 

By MICHAEL PERKINS

LOST IN THE WOODS”. “DEEP IN THE FOREST”…conjure your own phrase for the sensation of entering, and being swallowed by, dark, mysterious places. Realms of shadow, primordial laboratories in which both dreams and nightmares are brewed. In other words, sites where photographers can wax poetic. Or crash and burn.

Forested areas are both challenge and opportunity for shooters, since they are seldom subject to the same laws of composition or exposure as subjects shot out in the open. Mastering light in woodsy settings can be a crusade in its own right: details can melt into dark murk or be completely blown out in sudden shafts of sunlight. I have produced more mushy, indecipherable messes with more cameras in more forests than I care to count, in pictures which inadvertently produce more mystery than they reveal, as in “what’s this supposed to be?”

I can come a lot closer to coherence when I work with partial clearings rather than dense woods, working with simpler compositions that suggest the feel of the forest from its near edge rather than its center. Exposure becomes a more streamlined process as well.

Also, since the emphasis in such a shot is on mood rather than detail, even the basics of focus can become, well, negotiable, as seen here. But then, almost anything in the making of a photograph is. Or should be. My point being that, when the taking of a picture fails, it can be because the photographer is trying to execute too many things at once. Eliminating some of those things until the image becomes manageable can be, like walking out of a dark forest, a profound relief.

 

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