Advancing Your Photography. Marc Silber
Cartier-Bresson captured what he called the “Decisive Moment”, where he photographed his subject at exactly the moment that captured the true spirit of their action. In order to hit the exact right moment, he had to be prepared for the precise instant to press the shutter. If he waited until he saw it, chances are that because of the lag of his finger pressing the button and the lag of the camera itself, by then that moment could have passed. So by being aware of the action and being prepared, he was able to judge the exact moment to press the shutter an instant before that decisive moment occurred.
Nancy Newhall, a biographer of photographers, described his process: “…you photographed the developing action until the climax was reached and you achieved ONE picture out of the whole roll, or even several rolls, which summarized the whole. For this kind of picturemaking you must be forever alert. The action happens just once in all time. There is no retake ever. No prearrangement, no direction will ever bring the same unmistakable flash of insight into actuality.”
A great example of Cartier-Bresson’s “Decisive Moment” is his image of a man jumping over a puddle (Google it). By being prepared for the action, he was able to capture the man a split second before his right foot hit the water. When he saw this man about to make the leap, Henri must have visualized the image in a split second and immediately readied himself to capture it – which is all part of visualization, but greatly sped up to match the pace of the action taking place.
» Polo, Atherton, CA, Marc Silber
I have an example that combines many of these elements in the photograph above. I was on assignment from Gentry Magazine to capture, as they put it, “some exquisite images of a place you thought you already knew.” I visualized various images that I wanted to capture and that I believed it would surprise people to learn were right in their backyard, a suburban area of Silicon Valley.
I knew I wanted to capture the polo field in action as part of my shot list. I situated myself, anticipating where the action on the field was going to occur. I wanted to shoot a tight image of the players together at the decisive moment, not when they were scattered around the field. The moment was there; by visualizing it, anticipating the action, and pressing the shutter at the exact right moment, I was able to capture the players in a tight group, with their mallets forming an arc. A moment later they were scattered again.
Here’s another example of visualizing the final image and anticipating the action of my friends jumping off a sand dune in Morro Bay, on the California coast. The sun was behind them so they were perfectly silhouetted. I took a few frames from the side, but that wasn’t particularly interesting. (you can see these on page 121) Then I had the idea of getting below them on the sand dune and capturing them in mid-air, so I moved into position and told them to jump (like calling “Action!” as a director). I anticipated it correctly and was able to capture them in an arc, which again a split second later fell apart.
» Friends Jumping, Morro Bay, CA, Marc Silber
What about just getting the shot? Aren’t there times when you’re out for a walk to the store to pick up beer and pizza, and you see a shot and take it, completely unprepared? Yes, of course, and you should be ready for such and have your camera (even if only a smartphone) ready at all times. Just remember this phrase from Louis Pasteur: “Chance favors only the prepared mind.” The moral here is that the better prepared you are, the more likely you are to capture that moment.
STRENGTHENING YOUR VISUALIZATION “MUSCLES”
I didn’t say “learn how to visualize,” because you already know how to do it. As it turns out, the ability to visualize is “standard equipment” from our earliest age. In fact, as kids it might have been at its strongest, and alas, as we grow older we often hear excuses for not being able to imagine and create as we once did. But the visualization ability of the mind is powerful! It just may need some regular exercise to get back in shape.
Can you remember the wonder you had as a child and the flexibility your imagination had? It’s that ability we want to focus on at this stage of photography. And by the way, as I told you earlier, I first became a photographer at age 12, and a year later made the jumping picture above. I am so grateful that photography has been the part of my life that has kept me young by causing me to continue to imagine.
FEED YOUR CREATIVITY: GO TO MUSEUMS
In the last chapter, I told you about some of the photographers who have inspired me and recommended looking at others’ work. Let’s go a bit deeper to find out why and how.
» Goat Skin, Joey L.
Some years ago I interviewed a young photographer named Joey L. He got his start when he was 16 on the first of the Twilight films, and his career just took off from there. Have a look at the photograph above and his other work, and especially notice his lighting and composition. He told me he tries to place subjects in the frame similarly to the way that some of the master painters would. These same masters have also influenced the way he lights his subjects and images as a whole.
Here’s Some Damn Good Advice from the book of the same title by George Lois, who has been an inspiration for me. While he is not a photographer, he is one of the most creative people I know; in fact, he has said, “Creativity can solve almost any problem – the creative act, the defeat of habit by originality, overcomes everything.” Among his many accomplishments, he has designed 92 covers for Esquire magazine, so listen closely to his advice about feeding your creativity:
“You must continuously feed the inner beast that sparks and inspires. I contend that the DNA of talent is stored within the great museums of the world.”
“Mysteriously, the history of the art of mankind can inspire breakthrough conceptual thinking in any field.”
Take George’s advice and spend plenty of time looking at art (he does it weekly on Sundays). But when you look, don’t just glance and say, “That’s great. That’s strange,” etc. Really look deeply.
Here’s the process I suggest; bring your AYP notebook with you to take notes or sketch as you look. If you can’t go to a museum, you can do this with books, but don’t do it on your computer – you should get as close to the original art as possible.
Select a genre of art that is similar to what you want to photograph. Joey L. does a lot of portraiture, so he was particularly inspired by the classical painters of the 17th and 18th centuries, but choose your own.
Find a work of art that you are particularly drawn to. Look closely and observe:
A. How was the subject (or subjects) composed within the frame?
B. How were they lit? Where was the light coming from?
C. How did the light strike the subject?
D. Look at each layer: the foreground, middle and background, plus any other layers.
E. What was your eye drawn to?
F. What was de-emphasized by being put in the background or made darker, etc?
G. How did the artist use color?
H. Can you find a pure white and a pure black (representing the full range of black and white)?
I. What is in focus and what is out of focus?
J. What is the overall message or communication?
K.