By MICHAEL PERKINS
YOGA TEACHERS, AT THE START OF CLASS, often invite their students to “set their intention” for the session, making at least part of what is largely a physical effort a partially mental one as well. Said intention need not be the achievement of world peace or the eradication of disease, of course. Often, just deciding that you’re going to exit the hour with a clearer brain than you entered it is plenty. The idea is chiefly to form the habit of pre-planning the experience, of asking yourself “what do I expect from this?” It’s also the best kind of mental conditioning for the making (rather than the taking) of photographs.
Even in the most casual snapshot, there is at least an instant in which “intention” is set and a plan is executed. There is, truly, no such thing as a pure photographic accident. Certainly, you may not have sufficient time or technique to make a shot work out, but just because you weren’t able to get what you set out to get, your intention was established. Some instantaneous judgement call that “this might make a good picture” is in operation, always.
The trick over time for improving one’s success rate is thus twofold: first, to close the gap between what you envision and what you can deliver, and, second, developing the means to, through processing and editing, rescue or even re-set your intention for a given picture. In normal-people circles, this process is called “changing your mind”. Seriously, what is post-processing in most cases but a renegotiation of your original intention? What photographer willingly accepts the ideal of “straight out of the camera” if it means that his/her vision actually goes straight into the sewer? When Ansel Adams called the photographic negative “the score” and the print “the performance”, he was, in fact, asserting that exactly half of a photograph’s destiny is decided after the click of the shutter, something that, thankfully, is a more universally embraced belief in the digital era, which, not incidentally, has placed more control within the reach and budget of billions of users, a control that means choices. Let’s be clear, however: this is not about “saving” bad pictures. It’s about polishing the gems.
One of the simplest ways I myself re-juggle the intention of a shot is in the light relationships. The image you see in the thumbnail here is an original from a series of shots I took on a gorgeous Saturday morning in spring of 2015, conditions which perfectly served the picture of the church as I first envisioned it. The sunlit version emphasizes detail and a very light color scheme. By comparison, the reprocessed version (above) is practically what movie folks used to call “day for night”…that is, shooting during the day in such a way that resembles night, but preserves discernible information in a way that true night shooting obscures. The color scheme is very deep, and nearly all detail is sacrificed except that of the front of the building, which is made to appear as if it were illuminated by the warm light of a setting sun. The shift of the intention exchanges the effect of all that fine detail for the impact of understatement. More to the point, I don’t need to show the grit of every stone or the grain of every slab of wood to make the picture work, and so what is paramount in a day-lit shot becomes expendable, even excessive, in the nighttime version.
Again, even in the most reactive of snaps, all photographers know what they are going for. If they get some of it ahead of the click, with the rest of it recoverable through processing, why are those tweaks any less of a “setting” than the shooter’s original choices of aperture or shutter speed? Can the precious purity of SOOC (straight out of the camera) actually make us abandon pictures that might, with a little encouragement, make the finals? And why should that be?
By MICHAEL PERKINS
CALL IT “EYE-HERDING”, if you will, the art of channeling the viewer’s attention to specific parts of the photographic frame. It’s the first thing we learn about composition, and we address it with a variety of techniques, from depth-of-field to color manipulation to one of my favorites, the prioritizing of light. Light values in any image do have a hierarchy, from loud to soft, prominent to subordinate. Very few photos with uniform tone across the frame achieve maximum impact. You need to orchestrate and capitalize on contrast, telling your viewers, in effect, don’t watch this space. Watch this other space instead.
In many cases, the best natural ebb and flow of light will be there already, in which case you simply go click, thank the photo gods, and head home for a cold one. In fact, it may be that “ready to eat” quality that lured you to stop and shoot the thing in the first place. In many other cases, you must take the light values you have and make the case for your picture by tweaking them about a bit.
I have written before of the Hollywood fakery known as “day for night”, in which cinematographers played around with either exposure or processing on shots made in daylight to simulate night…a budgetary shortcut which is still used today. It can be done fairly easily with still images as well with a variety of approaches, and sometimes it can help you accentuate a light value that adds better balance to your shots.
The image at the top of this page was made in late afternoon, with pretty full sun hitting nearly everything in the frame. There was some slightly darker tone to the walls in the street, but nothing as deep as you see here. Thing is, I wanted a sunset “feel” without actually waiting around for sunset, so I deepened the overall color and simulated a lower exposure. As a result, the sky, cliffs and dogwood trees at the far end of the shot got an extra richness, and the shop walls receded into deeper values, thus calling extra attention to the “opening” at the horizon line. The shot also benefits from a strong front-to-back diagonal leading line. I liked the original shot, but with just a small change, I was asking the viewer to look here a little more effectively.
Light is a compositional element no less important than what it illuminates. Change light and you change where people’s eyes enter the picture, as well as where they eventually land.
By MICHAEL PERKINS
TIME LIMITS US IN EVERY PHOTOGRAPHIC SITUATION: LIGHT HEMS US IN EVEN FURTHER. Of course, the history of photography is rife with people who refuse to just accept what time and nature feel like giving them. In fact, that refusal to settle is source of all the artistry. Too bright? Too bland? Wrong time of day? Hey, there’s an app for that. Or, more precisely, a work-around. Recently, I re-acquainted myself with one of the easiest, oldest, and more satisfying of these “cheats”, a solid, simple way to enhance the mood of any exterior image.
And to bend time… a little.
It’s based on one of Hollywood’s long-standing budget-savers, a technique called day-for-night. For nearly a century, cinematographers have simulated nightfall while shooting in the daytime, simply by manipulating exposure or processing. Many of the movie sequences you see represented as “night” are, in fact, better lit than any “normal” night, unless you’re under a bright, full moon. Day-for-night allows objects to be more discernible than in “real” night because their illumination is actually coming from sunlight, albeit sunlight that’s been processed differently. Shadows are starker and it’s easier to highlight what you want to call attention to. It’s also a romantically warm blue instead of, well, black. It’s not a replication of reality. Like most cinematic effects, it’s a little bit better than real.
If you’re forced to approach your subject hours before sunset, or if you simply want to go for a different “feel” on a shot, this is a great shortcut. Even better, in the digital era, it’s embarrassingly easy to achieve: simple dial up a white balance that you’d normally use indoors to balance incandescent light. Use the popular “light bulb” icon or a tungsten setting. Indoors this actually helps compensate for cold, bluish tones, but, outside, it amps up the blue to a beautiful, warm degree, especially for the sky. Colors like reds and yellows remain, but under an azure hue.
The only other thing to play with is exposure. Shutter-speed wise, head for the high country
at anywhere from f/18 to 22, and shorten your exposure time to at least 1/250th of a second or shorter. Here again, digital is your friend, because you can do a lot of trial and error until you get the right mix of shadow and illumination. Hey, you’re Mickey Mouse with the wizard hat on here. Get the look you want. And don’t worry about it being “real”. You checked that coat at the door already, remember?
Added treats: you stay anchored at 100 ISO, so no noise. And, once you get your shot, the magic is almost completely in-camera. Little or no post-tweaking to do. What’s not to like?
I’m not saying that you’ll get a Pulitzer-winning, faux-night shot of the Eiffel Tower, but, if your tour bus is only giving you a quick hop-off to snap said tower at 2 in the afternoon, it might give you a fantasy look that makes up in mood what it lacks in truth.
It ain’t the entire quiver, just one more arrow.
Follow Michael Perkins at Twitter @MPnormaleye.