What Are You Trying To Say With Your Photographs? - 11/05/2006

You probably know three kinds of people. There are those who go on and on about something, and those who mumble a word or two. Finally, there are the ones who usually are labeled as good conversationalists.

The first one goes off into so many tangents, that you wish you had taken notes from the beginning. You can't even remember what the opening point was, period! To this day, I still don't know if Auntie Frieda was allergic to English Walnuts or Black Walnuts. She's gone now - but not from me serving her a nut-tray!

The second kind is a bit short on words. There are no descriptions or explanations of any kind! The words used to introduce the subject are so obscure, that you haven't a clue what they talking about! Quite frankly, you're not even sure if you want to know what they're talking about!

So, then - what makes the third kind the sort of people you could listen to for hours? They're the ones who introduce interesting topics; set desired moods using appropriately, descriptive words, tones of voice, and/or facial expressions; and illustrate the topic's importance in a specific context. In other words, they create the relationship between themselves, the listeners, and the topic.

What does this have to do with photographic composition? Everything! Your images are as much a part of your communication system, as is your vocabulary. Like Mom always said, "It's not what you say, but how you say it that matters!"

Is your image full of clutter? Are there so many objects in the picture that viewers can't determine which subject it is that you want them to look at? The subject should be "Presented" - set apart so that there's no doubt of its importance. Does it have to be shown against a black background with nothing else in the frame? Absolutely, not! For one thing, the subject doesn't have to be a single item - it could be a related set - dogs playing together, parent & child, lake and mountain, or two rings. But, the mother and child image shouldn't include half of Daddy's arm! And, if you find a wonderful wagon of flowers on your neighbor's lawn - do the best you can to isolate it from the front porch and the zillion other do-dads placed around the lawn and garden. If your pictures try to "talk" about too many things, nobody will have a clue as to WHAT you're trying to say!

On the opposite side, there are the images, in which a small subject is shown in a vast viewing area. Viewers are left wondering what they're supposed to be looking at. If the photographer's intension is to create a sense of aloneness or desolation, depth of field must be a major part of the image. If the intension is to show a cow in a field, then there should be more cow, and less field. In the first case - the Area is the "star"; in the second, the Cow is. Remember that "saying" too little is as confusing to viewers, as is "saying" too much.

Like a successful conversationalist, it's your job as a successful photographer to get your point across. Did you introduce the subject, create the mood, and develop the relationship between you and the viewer by sharing a well-crafted image? Can viewers immediately determine what you're trying to share with them - eventually becoming a part of your story, themselves?

The first introduction to your images is your title - does it accurately introduce what your image will portray - in equal measure? I have one called, "Nuts on Ice!" But, my ice-fishermen were in the distant background, overwhelmingly framed by strong images of boat docks. I should have called it, "THAT'S as close as I'm getting to Ice Fishing!" The focus would have shifted to the protective strength of the pilings, keeping me away from those people who chose to sit next to a hole in the ice for hours on end. In other words, make sure your images deliver what your titles promise.

In a perfect world, all Photo Ops would occur in a pristine environment. There would be no crooked tree branches, no litter in the river, and - everyone's favorite - no telephone/electric wires! But, to some extent, you have the ability to control the clutter. The easiest action, of course, would be for you to move the subject or clear away the extras. You can't cut down telephone wires, but you CAN pick off dead leaves or move that hose lying in the garden. Can't isolate a flower in a Botanical Garden? Why not carry some reflector paper like Alberta Milton does? Instant background! If you can't move the tree, why not move you??? !!!

Sometimes, it's a matter of climbing higher, squatting lower, or going belly-down to create a desired image. It might also take positioning yourself one inch to the right, or four feet to the left to remove distracting clutter. On occasion, moving to the opposite side of the subject to "clean up" the area could produce an unimagined result. Who knows! You might end up with an image of a perfectly backlit rose! Serendipity rules!

What it all boils down to - whether it's done through words or pictures - is that you felt something that you want someone else to feel, too. If you can tell them what that is - and choose the most effective way to share it - you can pull anyone into your moment. THAT is successful communicating; THAT is successful photography!