Photographing in visually complex places.

[P1505C]

Hi.

I am struggling to make photographs that aren’t terrible, and one of the repeating themes is a point of focus in the image. Or more accurately no one point of focus. I’m working on a photo project that focusses on three locations and the people that are in these locations, and they are all incredibly complex. Think scrap yards on land where the background is a city.

I will share some images when I get back to my home PC but wanted to start the discussion. I’m really lost here. I keep thinking I’m not close enough, it’s hard to find a strong composition, and with everything being similar is colours range and level it becomes quite a bland image.

 

[P1505C]

Here is an example:

 

[Duff photographer]

Huh! You posted a pic just as I was about to reply, so well timed!

First of all, I should say that each (good) photographer has their own style to some extent. This means to say that the rules of photography aren't always followed. So, with that proviso out of the way...

With regard to the boat image. yes, it is a little 'boring', if that's not too rude a comment. Would it be correct to say that the barge is the subject of the image and that its context and the fact that it looks like it's a permanent home for someone is important? I'll await your reply on this before commenting further.

Generally, with any image, I would experiment with the time of day, different weather conditions, experiment with different image formats/ratios, (e.g., square, 1:2, 3:4, etc., verticals as well as horizontals), try black-and-white, etc.


Cheers,
Duff.

 

[P1505C]

Hi.

I think you answered the question, maybe. Intention - I just took the picture, there was no intent. Maybe that’s the issue. Maybe I’m just not very good

One thing I avoid is tight framing, I don’t like to be in close I like to show the surroundings. Or, I like to be very close. But not the generic framing. Maybe I take that too far.

 

[P1505C]

With regard to the boat image. yes, it is a little 'boring', if that's not too rude a comment. Would it be correct to say that the barge is the subject of the image and that its context and the fact that it looks like it's a permanent home for someone is important? I'll await your reply on this before commenting further.

Not rude at all I came looking to improve. Yes, that would be the reason for the shot.

 

[MGrayson]

Warning: Amateur pontificating ahead!

I used to photograph objects and was almost always disappointed. It really helped me to start looking at the light. There are many sayings, but the clearest is “If the light sucks, your pictures will suck.” What makes it hard is that good light is subject dependent. If the light is boring, consider converting to B&W. You then have a lot more control over the lighting when you post-process. Harsh light can give interesting shadows.

Once you see nice light, then find a subject (alternatively, find a subject and wait for the light to get good or shoot until the light gets good or …) With good light, you’ll see subjects everywhere.

Then apply some simple composition rules and you’ll be amazed how much better the image will look.
don’t be afraid to suppress unwanted elements in post. Vignette the edges. Darken distractions. Experiment! That’s the biggest advantage of digital. Experiments are free.

But seriously, spend some time just looking at the quality of the light and don't think about anything else. Good luck!

 

[MGrayson]

I took the liberty of converting your image to B&W and trying to overcome the flat light with some extreme processing. You may not like the result, but it's an experiment. (I'll also delete it if you prefer). It does lose the nice blue of the tarp on the left boat, so maybe staying color would be better...

Oh, I cropped some off the bottom because it felt like there was too much grass competing with the boats.


Here's color - perhaps overcooked - but again, it's a sign of what liberties you might want to take. I'm not recommending this style - I usually prefer images that look like you could actually be there, and yours above is closer to that ideal than either of my versions. It depends on what kind of response you want from your viewer.



Matt

 

[Shashin]

You have just articulated the problem of photography: how do you render the world in an interesting way. If you look at the variety of successful images in history, there is obviously not any particular way to do that. Studying photographs that you like can help, though.

Photography is ultimately a skill. This is something that you need to practice. One technique that had the greatest impact on my photography was to shoot full frame--not the sensor size, but to frame the image in the camera and not crop in post. That forces you to work the situation and solve the problem at that time. I found that one change in how I worked improved my photography the most. I still shoot that way today.

 

[Jorgen Udvang]

Intention - I just took the picture, there was no intent. Maybe that’s the issue. Maybe I’m just not very good

I hardly ever take a photo without intent. Sometimes, I'm the only person who can possibly understand the intent, since I was there and the intent was created inside my head. To me, that means skipping photos, even some that have the potential to become beautiful images, where there's no intent from my side, no story. Do I miss out on some good opportunities that way? Yes, but it saves my brain from having to create something out of an image that I don't feel connected to.

 

[B L]

I hardly ever take a photo without intent. Sometimes, I'm the only person who can possibly understand the intent, since I was there and the intent was created inside my head. To me, that means skipping photos, even some that have the potential to become beautiful images, where there's no intent from my side, no story. Do I miss out on some good opportunities that way? Yes, but it saves my brain from having to create something out of an image that I don't feel connected to.

How do I go on to take some photos without intent?! I do some weird stuff (without intent) whilst sleeping.

 

[P1505C]

I’ve been reading a lot of articles today on this during work breaks and I see none of the intent that the authors describe.

So I’m taking it as “slow down and think”.

 

[darr]

“Intent" in photography can be viewed as articulating the purpose, message, or emotional response you want to convey in your images.

**Purpose**
Why are you taking the photograph?
Documentation?
Showcase an emotion?
Tell a story?
Convey a message?

It helps viewers understand what they're seeing and why it matters.

I’m working on a photo project that focuses on three locations and the people that are in these locations, and they are all incredibly complex. Think scrap yards on land where the background is a city.

What has inspired you to transform these locations into a photographic project?
Are you drawn to capturing the symbiotic relationship between people and the landscape features, such as scrap yards?
Do these areas evoke specific emotions within you when you visit them?
What written narrative could you construct about these places?
Do these landscapes convey a universal message that elicits emotional responses from you?

After you answer some of these questions, use your photographic tools to identify what inspired the project.
Try to capture whatever it is through framing, color, texture, weather conditions, and other elements.

Best to you,
Darr

 

[P1505C]

OK, let's open up a little too much and answer these questions.

What has inspired you to transform these locations into a photographic project? - These people are ultimately choosing to evade or hide from general society, they all have the option not to. There decision to live this way is of interest but less interest to me than my own desire to do the same. I feel increasingly isolated from the world, and my work with AI is increasing this feeling. I feel like I need to do something positive and creative with the negative energy.

Are you drawn to capturing the symbiotic relationship between people and the landscape features, such as scrap yards? - No, I feel I need to use the isolated places and the isolated people in them to understand my own feelings, and I hope to convey what I learn about myself. This is ultimately selfish, this is not documentary photography although it pretends to be it.

Do these areas evoke specific emotions within you when you visit them? - Yes, I feel calm and at peace in them but I also feel like the landscape itself could become the enemy or the thing most feared if you remove people/society/technology from your life. The landscape is both welcoming and threatening.

What written narrative could you construct about these places? - Honestly, I see a future where more people are living this way due to the commercial impact of AI. I work with AI, and I can tell you for a fact that it is a huge threat as much as a positive technology. I cannot disclose details, who I work for, what I do etc but I can say that as we progress with this technology, I can see clear ways to replace almost any job with a script that cost pennies on the dollar. The delay in this happening is not government or legislation, but poor understanding by the C-Suite coupled to loss of empire fear among CTOs. It's a cliche of a story, but will become reality.

Do these landscapes convey a universal message that elicits emotional responses from you? - Possibly, but I'm not sure I understand the question.

 

[Geoff]

The questions are solid but my process doesn’t quite fit. Often go out with an idea and approach, but then while shooting, something triggers the imagination to a different approach.
Upon returning home and processing, shots are subject to the questions, and those that pass are typically the ones that are worthwhile.

 

[Shashin]

I go out into the world and find interesting things. I photograph them so I can come back and show people what I saw...

 

[darr]

Regarding the inquiry about a 'universal message,' consider how your insights might resonate with individuals with similar life experiences or concerns.

Your answers seem to reflect on isolation, the profound impact of AI’s commercial implications, and the contrasting nature of landscapes as welcoming and foreboding. That is a lot to delve into.

--

I pick a topic and work on it for years.

One of my favorite ways of shooting is to visit small towns I have never been to before and photograph whatever catches my eye. Then, after I process the initial images, I plan to visit again with a more focused approach if I find something I want to delve deeper into. Sometimes, I find little projects inside these shoots and see patterns emerge after photographing many towns.

I enjoy landscape photography—the old-fashioned kind where I simply enjoy the beauty of nature. I visit the same areas repeatedly to challenge my vision and try out new gear.

I also work on projects in the studio, but they generally involve macro setups.

I wish you well on your project!

 

[PeterA]

Here is an example:

View attachment 211950

A lot of good advice posted above by talented photographers.

What you are showing above is two images in one ( at least) and perhaps unnecessary 'noise/distraction' in the near foreground grass.

Play with lots of different crops of this image - to train your eye. I can see a very interesting panorama in that capture - before any other post-processing just a few different crops.

There is a a lot of colour and texture to work with in this scene- I think it worthwhile going back a few times in different light and from different POV ...

atb
Pete

 

[lookbook]

Hallo P1505C

... I have learnt from your question and the very good and serious answers to it.
Many thanks to everyone involved and for initiating the discussion.
I will limit my answer to the image composition.

If it fits in with your concept, I would take the shot from an elevated position.
Possibly with a drone?

The view from above would give you the opportunity to divide up the image space in a more interesting way.
For example, 1/3 foreground with the boats, 1/3 of the lake? and 1/3 city with a cloudy sky.
All the picture contents would have a stronger relationship to each other and would be visually cleanly separated.

Be confident ...

lookbook

"If I knew that the world would end tomorrow, I would plant an apple tree today"
(Martin Luther)

 

[Jorgen Udvang]

I took the liberty of converting your image to B&W and trying to overcome the flat light with some extreme processing. You may not like the result, but it's an experiment. (I'll also delete it if you prefer). It does lose the nice blue of the tarp on the left boat, so maybe staying color would be better...

Oh, I cropped some off the bottom because it felt like there was too much grass competing with the boats.


Here's color - perhaps overcooked - but again, it's a sign of what liberties you might want to take. I'm not recommending this style - I usually prefer images that look like you could actually be there, and yours above is closer to that ideal than either of my versions. It depends on what kind of response you want from your viewer.



Matt

I like your "overcooking". In a busy photo, colours and details are important elements of the photo. They ARE the photo. Increasing saturation and contrast can help guiding the viewer around the photo. When I shot industrial interiors on film, I mostly used Ektar 100, a colourful, contrasty film. That helped making the details stand out, and the viewers, mostly technical staff, got the clarity the wanted.