Textures are rarely assertive elements. They must be sought and dealt with carefully and thoughtfully. Used effectively, they can be impressive elements of composition. They can also have the strength to hold a viewer to the photograph as he studies the rendition of textures in their most revealing details. As noted on the first page of this book, the inherent realism of photography is one of its greatest strengths, and studies of texture placed within a well-conceived image can impart surprising strength.
The noted photographer Frederick Sommer cautions that textural studies alone fall flat. He points out that texture is a surface quality, and that if the photograph fails to delve beneath the surface, to uncover inner truths, or ask probing questions, we end up with a print as superficial as the texture. Texture for texture’s sake shows little more than technical competence, but texture used to help bring out a deeper message, a more insightful image, can add realism and pertinence to a photographic statement.
A good photograph is a visual statement, and all the elements of composition are simply the tools used to strengthen it. No compositional element has meaning by itself. Each must be employed in concert with the others to contribute to the unified thought discussed in Chapter 2. Toward the end of this chapter, I will discuss this idea further under the subheading Relationships.
Camera Position
Camera placement is critical for bringing out the most in compositional elements. Sometimes a change of camera position by mere inches makes the difference between an ordinary and a great photograph. Careful positioning can reveal patterns that were otherwise missing, or create a more interesting interaction between foreground and background objects (Figure 3-13 and Figure 3-14). At times, unwanted background objects can be obscured behind important foreground objects with clever camera placement. Precise placement can also be used to create a continuity of lines or forms, which would not exist otherwise.
The smooth, reflective rock textures stand out sharply against the background of small pebbles. There is an overall movement from the lower right to the upper left created by the rippled lines on the foreground rock. The wet rocks reflected a clear, presunrise sky. After sunrise, brilliant specular highlights and deep shadows made the scene virtually impossible to photograph.
Figure 3-12. Rocks, Pebble Beach
During my studies of English cathedrals in 1980 and 1981, I repeatedly used precise camera positioning to bring out the most lyrical interactions between the curve of a foreground arch and the multiple curves of ceiling vaulting in the background. Often my camera was positioned to block out distractions within the cathedral, such as electronic loudspeakers hung on columns, or visitor signs. Many of my compositions were the result of time-consuming studies of camera positions that would effectively reveal the harmonious interactions of the stone tracery in the foreground with the arches and tracery in the middle ground and background. Not only was it a thoroughly enjoyable effort, but in the process I became intimately aware of the exquisite craftsmanship and genius of invention on the part of the stonemasons who created those masterpieces. For me, virtually all the distractions were modern additions; the original architecture was astoundingly harmonious.
I felt a dynamic photograph could be made by crawling under this cottonwood branch that was wedged between the slit canyon’s walls. During the 10-minute exposure, I realized the real dynamic was missing: the low camera position was wrong (Figure 3-14).
Figure 3-13. Branch and Canyon Walls, Unnamed Canyon
Moving the camera to eye level and a foot closer to the branch created greater dynamism. That was my goal. The log explodes toward the viewer, confronting the viewer directly. The only difference between the two images is camera position.
Figure 3-14. Log Between Walls, Unnamed Canyon
Camera position is particularly critical when dealing with obstacles in three-dimensional space. Placing the camera in a specific location in space may reveal (or create) a particularly pleasing, surprising, or poetic relationship between foreground objects and background objects. Camera position may create interesting patterns or relationships of forms or lines that simply don’t exist from any other location in space. When this occurs, you must be in exactly the right spot, not just close to it. Too many people always shoot from eye level, simply because that’s where they see the world as they pass through it. They rarely investigate the view from waist or knee level, to the left or to the right of their line of travel, or any other unusual point of view, which may prove to be much more exciting or visually compelling.
I want to re-emphasize a thought expressed in Chapter 1. When you encounter a scene that grabs you—one that has a special magic, that makes you want to shoot it immediately—it is imperative that you respond instantly and spontaneously to that impulse. That doesn’t mean that you instantly shoot the scene, but rather that you immediately investigate it. Take the time to refine your seeing and improve the composition. Avoid the urge to look and snap; instead, investigate and photograph. Those few seconds or minutes spent in refining your seeing will not diminish your spontaneity, and they will surely enhance your imagery. See if the composition would be stronger two inches or two feet to the left or right, higher or lower. Check whether the lines, forms, and patterns are more exciting if you step to one side or the other. You do not have to check through the lens. Put the camera down and check without it. After all, you initially spotted the scene without your eye glued to the viewfinder or ground glass. Move to the left or right, squat down or stand on your toes, edge forward slightly or back a bit. Where is the composition strongest? When you find it, place the camera there and make your exposure.
Of course, if you’re shooting with a standard or digital SLR, don’t hesitate! Shoot now; then, assuming you have the time, refine the camera position, the seeing, and even your thinking for a second, better shot. If you are using a small, handheld camera rather than a large, tripod-mounted camera, you are probably after the immediate action rather than the “perfect” composition. With motor drive or digital cameras you can snap off a series of exposures rapidly, then leisurely pick out the best of the group later. This can be of tremendous value for transient, passing events when you may not have a second chance at composition. Even with motor drive or digital camera, there is a possibility you can improve on the first series by moving slightly to your left or right, forward or back, up or down, before reeling off a few more frames. By doing this often enough, you will slowly evolve into the type of photographer who almost automatically sees the strongest compositional structure as you bring the camera to your eye.
For studio compositions, the subjects as well as the camera can be moved. Place the subject and camera carefully for your initial analysis and composition, then proceed to rearrange the setup—both the scene you intend to photograph and the position of lights (as well as the type of lights used). Move the camera until you achieve the strongest possible composition. The closer you are to your subject, the more critical camera placement becomes.
In a panoramic landscape, it is often inconsequential if the camera is moved a foot or two in any direction (unless, of course, the distant panorama includes nearby elements that relate to the distant ones in essential ways). However, such movement can prove pivotal in architectural or portrait photography, and fractions of an inch may be critical in tabletop or any other closeup photography. They certainly proved critical in my cathedral and slit canyon images.