PHOTOGRAPHY, OR HOW I RELEARNED TO LOOK

I would not be able to mention one unique common drive that lies behind every time each one of us takes a picture, as there may be so many depending on the moment in our lives we are, the situation we are at, or simply put, the purpose of the photograph itself may be the main drive - a commercial purpose, a documentary one, or sharing with friends, family or anyone who may want to look at it. Sometimes it may be an inner force that want to resist the remediless past of time, trying to freeze an emotion, a moment with beloved ones, or even a person. Other times it may be the fear of forgetting, and in many other cases just for the purpose to express creativity and execute the genuine decision power that photography offers. Nowadays, vanity, accessible technology and social acceptance may also play their part on the reason why people take pictures almost on a daily basis, but that is another matter of discussion, not for this blog. 

Photography for me has been a great way to learn to be more present, aware of my surroundings, contemplative, and eventually it helped me to relearn to look. It helped me to be aware of the type of lights we can see, its directions, the effects it causes with its reflection, as well as the elements that impact on its flow such as weather, obstacles to its source, or the presence of different range of colours. Eventually, to be conscious on how light may play a major role on our emotions.

Photography also provides to the photographer a genuine power of decision in many dimensions. It allows the photographer to represent the version he or she wants to project of his or her experience, by deciding what will be captured into the picture, and sometimes even more relevant, what will not be part of it. It also enables to freeze the time on the very specific moment that each one of us may have decided should be stopped. And last, it provides you with a powerful mean to tell stories, call for emotions, call for actions, discover new places, dream or just to provide an invite to the viewer to reflect, think or imagine, sometimes in a predetermined direction. 

Although books do not tell you everything, they are a great source of technical and practical knowledge about photography, inspiration and ideas. I have personally read many books, from technical or historic aspects, as well as style specific ones.

But luckily, as many other things in life, you only learn it by doing it.

The best way to keep learning and developing is by taking photographs, being outside, experimenting, failing, and in many times by missing out great shots. The mere fact of the realisation that the moment or scene would have been a great shot, with its consequential frustration, is in itself a great learning step.

This blog does not aim to be a travel blog, or a lecture about photography, for that there are already many videos, on-line courses and books.

The purpose of this blog is simply to inspire other people, to get out there and take photographies with their very own perspective, and to explore new places or revisit some old ones seeking specific scenes or styles to photograph. I aim to achieve this by sharing some individual pictures I took in different locations I have visited. Locations that inspired me, challenged me and provoked me by the specific features, environment, conditions or circumstances those places offered, and that led me to take a very specific type of photo. So, in below posts I share learnings, reflections and recommendations from my own on ground trial - error process experienced in those locations, and that can be extrapolated at many other locations with similar features. Thus, aiming to go from a specific photo or place, to a general recommendation or norm, while sharing some amazing and special places I experienced. 

STREET LIFE - Varanasi, India

Street photography can take place in any given urban environment, and as such, it is common that any passerby or the whole of them, will be key elements for the composition of this type of images. The key feature for any given urban place is the human impact, this being result of the human infrastructure, as houses or street elements, the human imposed order of things, but overall the human activity and interaction that takes place in urban environments. Thus, the subject of this type of photography is the sum of obvious elements such as buildings, people, vehicles, animals, etc. as well as their genuine interactions and movement. All  these aspects create a whole which is the experience of the unique environment in any city, street, boulevard, or park, any person being able to be open and focus to observe would be able to experience.

Unexpected events, fast pace scenes, crowds, traffic and visual obstacles are definitely features to be aware of when intending to take this type of photography. Urban places differ a lot within each other. Not all the urban spaces present the same level of dynamism or activity. Some urban places have stronger and more genuine and unique personality than others, the essence of this type of photography can be captured in any urban place. Cities like London, New York, Shanghai provide extremely high amount of opportunities for impactful images, due to the high diversity of inhabitants they have, their high population density,

but be aware that also smaller cities, remote towns may offer an experience in which the personality and candor of the place may be so strong, breathable and sensorial that may be an extremely rewarding experience to capture with the camera. 

Due to the lack of control one may have to predict when certain scenes may occur in urban photography, or when the right combination of elements will appear in front of our eyes, I recommend to keep the camera in an auto or prioritised mode / semi manual (A or S) can be a good idea to avoid missing a great shot instead of Manual mode. Technical quality may not be the main goal of this type of photography, but rather the ability to react soon and take the shoot at the right moment. It is also good to be aware, specially when traveling to exotic,  foreign or alien places that people are probably performing their day to day activities, and may not perceive the same interest of what they do or where they are, as one may do, so they may not expect to be photographed, they may be surprised, or they may come and ask you just out of curiosity why you are taking pictures. No matter what, be respectful, and do not obstacle the activities performed, traffic, or the way of passerbies. In general, the less you interfere, and the less your presence is noticed in the urban scene, the more spontaneous will be. 

LEADING LINES - Atlanterhavsveien, Norway

Leading lines are very commonly present in photography. They are mainly used to guide the eyes of the viewer towards a specific point in which the photographer wants the attention to be focused. There are other uses to guide the viewer’s eyes to the subject of the photography - with light, foreground / background interaction, contrast… - but the leading lines are probably the one easier to spot when assessing a scene, scenery or object to photograph.

Leading lines are very relevant elements for photographic composition, but they can be used for more than just guiding the viewer’s eye. They can be used to compose symmetrically, create disruption or transfer a perception of depth or harmony for example.

Roads, bridges, rivers, shorelines, rail tracks, street lights compose clear lines that may be giving many opportunities to compose well controlled photographies, and normally very pleasant to look at. On the other hand, those photographies may not be the most original or creative ones, although that should not prevent it to be a good photography.

Familiarity with leading lines is usually a great asset when intending to take photographies of scenes or subjects placed within a major and more complexed frame (in some cases being those in the background), driving attention to those, but being these lines a mere functional element to guide the viewer’s point of view. 

ATMOSPHERIC IMAGES - Kaolack, Senegal

When a picture is able to connect viewer’s mood or imagination with a projected emotion or sensorial impact, we can say that is a powerful image. I refer here to an atmospheric picture, when the picture is able to project a sense of a specific place or time into the imagination of the viewer. Technical adjustments in the camera or during edition, with digital photography, can facilitate to create certain effects, such as contrast, colours, focus, image noise, etc. But no matter what is done with those adjustments, the heaviest element is the intensity of the scene atmosphere and how the subject is contextualised within the scene. Atmosphere in a scene is the result of many aspects such as weather conditions, crowds or lack of people, light, movement, etc. Thus, the moment when we shoot will play a critical role to take a good atmospheric photographic, as no place looks the same at any given point of time. 

It usually helps to capture in this type of photography, those elements that can be easily recognised by the brain of the viewer with iconic or relatable elements associated to a specific type of place (dessert, rain forest…), region (Amazonia, African steppes, European Atlantic coast cliffs) or the seasonality (Spring, Winter…). This will trigger a quick association on the specific place the viewer may recognise or associate with (or we want them to associate with, that is the power of photography), experiencing a perception of emotions, imagined or previous experienced sensations, and triggering empathy in some cases. 

For this type of photography, camera preparation and technical adjustments may be required, but it should not be a major challenge, as time may be available as the atmosphere of a place it varies but it usually stays in time for periods. In other occasions, we just need to be able and open to look, so then we just need to be fast to capture it with whatever tool we may have - it may be the phone camera if that is the only equipment we may have.

The picture above was inspired by observation on the road views during a drive to the Saloum Delta in Senegal. I was completely absorbed by the atmosphere created by the last hours of light prior the sunset, with the heat perceived not only from the dusty air, the refraction and an unclear view of the horizon, but also associated with the type of nature and vegetation present in the landscape. Other iconic elements where present constantly during the drive such as Baobab trees and a remarkably imposing round and intense sun. In this case I was not seeking to take this specific type of photography, but once I stopped looking and stepped out of the moment, I tried to take some pictures with my phone, being the above one of them. 

UNIQUE PERSPECTIVES - Miraflores Locks, Panama

A photography can be assessed from many angles in order to say if a photography is good or not, some more subjective than others. It can be assessed with technical and compositional aspects, with the consideration of the difficulty behind to take it, on the creativity of the concept, on the emotional impact it may create on the viewer, on the genuine and rareness of the instant it froze, but the perspective, access or angle from which a picture is taken is definitely a key parameter to consider, as this aspect on its own can boost the interest and drive the attention towards a certain photography. The reason is evident, to show a subject from a perspective from which is not commonly seen, it just attracts more attention and curiosity to it.

My recommendation is that whenever you have the access to visit a place that is not commonly open or very remote, or if you will fly, dive, or will have a position from which you will experience a different perspective of an environment, or simply to see something that is not easily accessed by people, use it to take a unique photography! 

The example above is a picture taken during a stay for a day with one of the tugboats operating the transit of vessels through the Panama Canal. The view and perspective of the Canal docks opening from this front line and low height is definitely a different perspective from the one most of visitors may have from the visitors’ terrace. It contributes with a new perspective to the common pictures taken from outside of the canal at the historic Miraflores locks. The above picture offers a perspective taken within the canal.

In this case, my profession allowed me to access that tug boat, but anyone of us have access or live in places that are unknown for many others. Think on the places, you may have access to due to your profession, hobbies, sport practices, etc, and try and photograph them, those may be completely new realities for other people.

THE RIGHT TIME - Ilulissat, Greenland

As with many other things in life, photography is also about taking advantage of the right opportunity, being able to capture a precise instant and to freeze it on an image. So, also as in life, there is a lot about being in the right place and in the right time. And of course, as with opportunities, to take a great photography of a certain landscape or subject is also about being prepared to seek and react when the opportunity to shoot appears in front of us. Overall, it is more a matter of planning, practice and preparation than of luck. Although luck definitely plays an active role for street or wild life photography. 

Everything we see is the reflection of the light waves on the objects surface. We do not see objects but the light. Light changes constantly, so the same subject or place can be photographed and seen in completely different manners at different points of time. Hard or soft lights, the yellowish or bluish tones, or the light direction are just few variables that impact on the view and perception of a subject or a scene. The most mundane or futile object or scene can transform into a unique and beautiful scene in matter of seconds with the right light transformation. 

Thus, my advice is to be well aware and familiar of the more common and easier to predict natural light conditions such as the golden hour (the hour previous to the sunset under a clear sky), the dawn light and colours, the soft light provided by a cloudy day, or the sharp shadows and strong contrast achieved on a sunny day.

If you have this knowledge and can learn to predict when these conditions will occur, you do not have to go too far to take impactful pictures, as well as you will own a tool kit that you can apply in basically any beautiful landscape or scenery you are at. 

As a tip, and specifically when visiting scenic places - exposed to water or in the height of a mountain - be aware of the right time to be there and capture your photography, as those places may offer completely different experiences depending on the time of the day and the weather conditions. For this, you will unavoidably have to plan. If you stay in a place until the sunset, it probably means you will have to return back or continue your journey in the night darkness, or if you stay in the sunrise, you will probably have to initiate a very early day in the darkness. Specially when traveling, ask the locals about the magic hours, the peaceful times to visit certain places or specific known local places that they go to experience a sunrise or a sunset - all humans are amazed by this daily event no matter where in the world they are born. 

CITY AT NIGHT - Rome, Italy

In my view there are two key elements to consider as a photographer when aiming to capture scenes of any city during the night, the first one is that you will not only play with the light (artificial), but also with the lack of it (darkness and shadows). The second one is to always consider the type of photography or concept you want to explore. If you seek active night life pictures of people interacting, then certain days will offer more opportunities than others, as well as the size and spirit of a city will also make a difference. If you seek quietness, then certain hours and parts of the city will offer you chances to capture that. 

Cities at night, specially capital ones or the most crowded ones, offer a great opportunity to photograph them with less human presence, interaction and movement. This can give you opportunities to photograph iconic buildings, places without the presence of tourists or the daily crowds in busy business districts, being able to explore and perceive the city with a different look. 

City lights may come from isolated street lamps, to overexposed illuminated monuments, but it is important to be aware that this type of light functions and behaves in a very different manner from the natural sun light. Artificial lights at any city is normally more directional and hard, which has a direct impact on what is seen and not on the photographed subjects, as well as it usually comes from small focal that should be photographed in specific ways to prevent or add certain visible effects in the photographies. 

There are also different colourful light sources in the city that can offer very unique opportunities for creativity and experiment. Specially when combining movement and lights, it can create very great effects when playing with slow shutter speeds. 

In general for night photography, depending on how much experience you have with the camera, you may need more time to adjust parameters, as conditions of light may change massively from one street to another. As it is eventually another type of urban photography, you never know what you may find, so using an automatic or semiautomatic mode may also facilitate the work.

Tripods, and the use of fixed focal lens could help you to get better quality pictures. Tripods are a must if you plan to get clear and deep depth pictures in dark conditions, as you require them to work in slow shutter speed conditions. Fixed focal lenses present broader apertures which enables more light to go through the lens, thus it will also allow you to get clear pictures even in low light conditions.

ACTIVITY AND MOTION - Wadi Rum, Jordan

Most of us like to move, travel, and engage in different motion related activities that will allow us to enjoy specific visual perspectives and emotions. These are great chances for taking photographies, it may be from the scenery we can observe from a plane, train or vehicle, or if we have the right equipment, also pictures we may be able to take when engaged in sport or outdoor activities such as bungee jumping, kayaking, rafting, cycling, and the list can go on and on. 

As a photographer, one owns the greatest and most personal of the powers, the decision on what is included and what is left out of the photographic frame. This applies to all types of photographies, as for this kind of photographies, we would usually intend to show not only what we see while involve in the movement, but also what is the activity we are performing. This is usually shown, from the context and background we are, showing other participants involved in the activity, or simply with gentle representation of the equipment required for the activity or elements of the vehicle or infrastructure we are placed - this creates context.

Depending on the type of movement or activity one intends to photograph, it can vary the required equipment, in some cases being enough with a phone camera, but in others going for more specialised cameras that can be submerged under water, or that due to their small size can be installed on a helmet or within other equipments, so we can keep our hands free to be used in the activity we are performing.

Depending on the effect that one aims to achieve we should make some decisions in relation to the shutter speed. A high shutter speed will allow to freeze movement, allowing for clear and sharp images. While a low shutter speed can actually create a fantastic blurry effect that is capturing the motion itself.

Obviously, do not compromise safety when aiming for this type of photography, for example if your hands should be somewhere else and not on your camera.

I chose the picture above as an example, as it does not only show the landscape or scenery, but it allows the viewer to imagine and understand that the photographer was involved in the activity, being very likely boarded into another truck that is driving ahead of the row of trucks. The trucks in this picture are a critical element to show a sequence, chronology and element repetition that emphasises and triggers the link on the viewer with the type of activity. The traces marked on the sand that define a pathway also facilitate this interpretation, and the motion and soil texture perception. These traces are also a great example on how to use leading lines to provide further meaning and guide the viewer’s look within the image, while being these lines a mere element of the picture and not the main subject of the photography.

BLACK & WHITE - Hamburg, Germany

Black and white photography is a complete world on its own. Key aspect to consider for this type of photography is the decision to elaborate a B&W photography, as it can be a planned intention, or in other cases it will simply be opportunistic. When working with analogical photography or instant photography (Polaroid alike), the decision is made in the moment of the purchase of the specific B&W film required to take this photography type. While with digital photography there are different options to obtain a B&W photography, from specific predefined shooting settings to the result of the post-production.

The light type is probably one of the most important elements to consider when aiming to take B&W photographies. Hard light conditions will create sharp edges, high contrast, and very dark shadowed areas in contrast with other areas highly illuminated giving great visibility to the details and surfaces illuminated. Soft light conditions will allow to develop images in which there will be less contrast between black and whites, more harmonic and balanced images, softer and fuzzy edges as well as providing a smoother look from surfaces. 

The subject and scene that is photographed play also a role to help you make a decision about when a photography should be shot in B&W. Portraits are commonly set in B&W, as the soft light used in this type of photography facilitates to create very smooth and pleasant photographies. On the other hand, spaces or scenes exposed to direct hard light conditions, can also call for B&W photographies, in which the intense contrast achieved from the light conditions will be magnified in B&W. This can be a great tool to elaborate more creative or abstract images, in which the balance and contrast between the whites and the absolute darkness can create strong emotional impact on the viewers. 

I personally tend to use B&W photography for scenes or subjects that evoke older days and memories, impose authority or represent the pass of time. The one above is an example of this utilisation, in which B&W is also used as an element to provide a specific atmosphere in the image. 

IDYLLIC SCENERIES - Mykines, Faroe Islands

The consideration of a scenery as an idyllic one may vary based on the assessment on each person, but there are certain elements that normally characterise this type of scenes such as impressive landscape views, vastness in the horizon or the sky, harmony between the elements participating in the picture (including animals and humans), and overall a strong connection with a conformity in a group or society with certain ideals or iconic views of a certain reality. 

These realities can cover so many aspects, from the idyllic life in the countryside, or in the mountains, to an iconic view of a certain natural environment or landscape associated with a certain region or part of the world. 

Generally this type of photographies are very linked to landscape, lifestyle or documentary photography. The same as for other types of photography, this one usually requires a good amount of planning, towards the location that we want to photograph, and a great dose of exploration and observation of the surroundings once we are at the field we aim to photograph.

Contemplation, patience, and observation of the interaction of the people, animals, or weather conditions will play a role to make us decide which angle, perspective and location is the right one. 

I deeply recommend for this type of photography to spend time on it, not only just on the technical adjustments of the camera or framing the right composition, but simply observing and enjoying the environment, walking around and interacting with it, as in this process it will come very natural to make the right decisions prior shooting. These decisions may cover from which specific landscape elements we want to keep in the background or in the foreground, which animals or plants we want to use as subjects, and how we want them to appear, as very likely through contemplation and observation we will become good in anticipating how those elements may interact or stay for certain periods. 

MUNDANE SCENES - Avila, Spain

I refer to a mundane scene, in the good sense of the term mundane linked to photography, referring to any scene or element that is part of our everyday life or routines. Beauty, balance, harmony, or a unique scene can be found in any place around us. To take great photographies is not required to travel far away, but simply to look at your surroundings in a different way. 

There are many elements in the streets that are endlessly photographed such as windows, doors, lampposts, flowers, trees, etc and all of those are perfect examples of mundane photography. Focusing on specific elements or subjects may be a good way to initiate in this type of photographies. 

More complex scenes or compositions with different elements can also create great images. In those cases, to look for a pattern or specific feature we want to photograph may be very helpful to define the image.

For example, colours, light, geometrical shapes, or surface textures may play a relevant role when deciding to take a shot for a certain scene as those will help us to identify what we want to capture into our shot, or to define the mentioned pattern. The great power of everyday life photography actually lies on the fact of attracting interest, admiration or contemplation on an element than otherwise we would have completely skipped from our attention.

This type of photography is the one that also invites the viewer to learn to look in a different manner, and appreciate the beauty, interest, emotion, reflection or whatever we aim to transmit with the image. The viewer may be surprised in many cases by the power the photograph owns on its own, and distancing it from whatever the subject itself is. 

TAME ANIMALS - Småland, Sweden

Tame animals are referred to those animals that have been domesticated by humans, for whatever the reason may have been, farmed animals, companionship or transport - work. These animals are much accessible, at the same time as much more predictable for the average person about how they may behave, react or move under different contexts. Wild animals on the opposite side present more challenges to be photographed, maybe because we may not find them if we are in wild nature, or even if they are in a safari park, sanctuary or natural reserve, it will still be more difficult for us to predict how they may be behaving or present if at all, in front of us. 

Tame animals cover dogs, cats, horses, goats, donkeys, or cows just to mention a few. In general these animals can be easily found in cities, towns, villages, countryside, farming areas. Thus, they in general will attract less attention or interest if the photography is merely focused on the subject itself. Wild animals as they are usually less accessible, will bring more attention from the viewer, the most strange, difficult to watch or unique is a specie, the highest the interest it will attract  from viewers. Thus, in this sense it is the same principle as it could be applied to any place or scenery that may be photographed, it is the skill of the photographer to capture a move, an emotion, an expression or a context in which the animal will create an impact in the viewer. 

The fact that a common person is more familiarised with this type of animals, it also facilitates a lot the easiness to take a good photograph of these animals. For example, we know that in general these animals do not behave aggressively or hostile towards human beings, as they are used to them. Thus, with a good degree of common sense, we can predict how close we can safely approach them, or how close we can get while they continue acting without interfering on their behaviour or actions. 

The above photography was taking relatively close to the two goats, and it was the fact that they were tame animals which allowed this proximity from my side. Also the fact, that they are animals used to human presence, it also gave me some confidence that I could get quite close without interfering in their interaction or fight. Lastly, the fact that I have enough time to observe them, it also allowed me to select and decide which specific action or scene I wanted to photograph, and then I just waited until it happened. 

I would have definitely not got so closed to them if, instead of two small goats, it would have been two male deers fighting during mating season - which it would have made me approach them from further distance and probably using a telephoto lens, not only for safety, but also for not interfering in their interaction. Also, I would probably have had much less time to prepare on the spot to take the photography if that would have been the case, thus some planning before hand it would have been required to take that shot if the encounter of the two fighting deers would have been the scene instead. 

There are many features or aspects that are worth to be photographed from tame animals which could go from a specific movement, actions, interactions, facial expressions, or reactions. The right capture of any of those features can allow us to elaborate a powerful photograph that can attract great attention from the viewer. 

Framing - Jinshanling, China

Framing in photography is one of the most known and easier to apply compositional elements. It helps to guide the look from the viewer towards a specific point or area in the background of the photography, sometimes it can also guide within the foreground. 

It simply consists on using an element or various elements that can create an artificial frame within the picture to guide our look.

Windows and doors are common artificial frames that can be used to frame a photograph. But different elements can also be combined or used to create a frame within a photography. For example, elements such as trees’ branches, lamp posts, or walls can help you to build the right frame. 

In above photography of the The Great Wall of China, I wanted to take a different perspective and composition of the famous site. For that I took advantage of being in a non crowded part of the Great Wall, as it was in a section that is less accessible as not being restored, and I utilise this ruined window for not only framing the scenery with the meandering wall, but also to emphasise the context of deterioration, as it can also be seen from the section invaded by plants further away. Thus, in this case, the frame was not used only for guiding the look, but also to provide atmosphere and context to the image.