Shapes and lines are important elements in photographic composition, but how often do we stop to consider them? I think I am more aware of lines than I am of shapes, to be honest. I look for leading lines and for dynamic diagonals in particular, but I’m less likely to look for specific shapes.
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Some people are passionate that black and white is the only true medium for photography, others that a photo without colour is lacking in something. I’m inclined to take a middle stance, as I believe that both have their merits, depending on a number of factors. Subject matter of course, but also time of day, lighting, composition and, perhaps most important, what story you want to tell.
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There’s a common mistake most of us make when starting out in photography. We spot an interesting subject, point the camera and take the picture. Great, we think, but what we often fail to do is take notice of what is behind our subject. The problem is that our brain has a habit of filtering out unnecessary information seen by our eyes, but the camera captures everything.
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The appeal of black and white portraiture lies in the way it simplifies the image. Without the distraction of colours, the focus shifts more to the subject’s face and expression. The eyes in particular seem to stand out more, and consequently as a viewer you often feel more connected to the person.
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There was a time when most photos weren’t black and white but sepia. And today if we want to give our images that ‘antique’ look, sepia is the way to go.
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I think we all recognise now that the genie is out of the bottle. Mankind has created AI and now needs to learn how to harness it for good while avoiding the many pitfalls.
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Usually I like to choose a theme for my black and white galleries. Maybe a particular country, or a subject such as flowers or buildings. But sometimes it’s fun to mix it up a bit with an assortment of rather different shots.
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There’s something about both windows and doors that draws many photographers to capture them, isn’t there? Maybe it’s the intrigue of not knowing what lies within. Or perhaps it’s simply that their geometry is pleasing to the eye.
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As a photographer I’m often fascinated by the way my camera allows me to capture a single moment in another person’s life. Especially so when I travel, when I’m very conscious that my out of the ordinary adventure overlaps for that moment with their everyday. They are getting on with their regular lives while I am taking time out of mine.
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If you cannot see a feeling, how can you photograph it? The answer is, by proxy. You photograph something that will evoke that feeling in the viewer, and/or you photograph a person evidently displaying that feeling.
