When I travel I always want not just to capture the big ‘sights’ but also the tiny details. I often photograph something that perhaps could be found anywhere: a leaf, a stone wall, a ripple on the water. But I found it here in THIS place and I want to capture it.
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Speaking figuratively, Sofia is not a black and white city. Its history is too complex, its architectural influences too diverse. But like any city it lends itself to black and white photography.
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Often I observe some with a phone or camera taking a single photo of a sight and moving on, in a hurry to reach the next. In the pre-digital days when every picture taken meant a hit to your wallet, that made some sense. Today it strikes me as strange, but then I am rarely happy with my first shot of anything!
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Paris, like most cities, is full of colour. Street art, flower markets, shop windows, mellow old stone, green (or autumnal) trees … I could go on. But it is also full of striking details that translate well to monochrome images.
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There may be poetry in motion, but it’s not necessarily easy to capture that poetry in a still photograph. Despite that, we all try from time to time, and there are various techniques we can use.
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Let’s consider how much of your image is occupied by your main subject. Often the answer to that is, quite a lot of it. But you can take this to extremes, either filling the frame completely or leaving lots of empty space around your subject. Both can be effective, in different ways.
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How good are you being self-critical when it comes to your photography? Can you easily pick out the best of your shots and are you comfortable rejecting those that have been less successful? I confess I’m pretty rubbish at it.
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Salvador Dali said that, 'Surrealism is destructive'. It seems counter-intuitive to think of art as destructive, when it is such a creative process. Surely the purpose of art is to construct? And photography, as an art-form, creates or constructs a record of a moment in time. So perhaps to apply Dali’s definition of Surrealism to our photography, we need to partially destroy our images and distort that record in post-production?
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Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact colour and shape, until it gives you your own impression of the scene before you.
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Reflections really add something to a landscape, perhaps because they allow us to ‘see double’. Already beautiful scenery is enhanced by being presented to us a second time, often rippled or distorted in an upside-down version of itself.
