More On Seeing Images

Probably the single biggest problem for photographers is seeing something interesting to photograph. I have written about this before. Much of my first book was dedicated to the problem, yet the problem persists and the following feedback to requests for ideas for topics is pretty common.

Frank E has left a new comment on your post "Suggestions for Future Topics?":

l have a suggestion, but just so you know "where it is coming from" let me talk about myself first:
-have been shooting seriously (as a hobbyist) for about three years now
-shoot with a Canon 20D with enough glass that takes me from 10mm to 400 but no fancy TSE equipment etc, but do have a macro
-use PS CS3 but am far from an expert
-am reasonably pleased with my progress (have won a number of camera club awards)
-but still get frustrated that I am not progressing more quickly
-try to look at other people's work, buy alot of books (including yours), and also take them out from the librarry

My question/suggestion for a topic is to talk more about how you "find" your images. I know that "text book" answer to the question. Look around for lines, texture, colours, shapes etc. Then simplify, simplify etc. But I still find that I walk around and the muse doesn't strike me. What are the techniques you use (mental conditioning, triggers you look for etc) for finding images. What helps your "seeing"

So what more can I say without repeating myself?

Perhaps telling the story of how I came to photograph the turbine might be helpful to some of you.

I was on the way to photograph Ghost Reservoir Dam (didn't see an image there). The turbine was sitting in a field, looking more like something you'd use to feed cattle than create electricity. The top part (the blades) was a uniform dark brown from the road and I passed it without much thought. After turning the car round to leave the dam site, I decided to at least take the trouble to look closely. I didn't even unpack the camera, but did walk over to find that it was a lot more interesting close up. Instead of an even brown rust, there were streaks and curves, varying tones and hues and those lovely curves of each blade. It mushroomed out at the top and had some spots that looked like welded repairs here and there.

Let's stop for a minute and think about what has happened.

I saw a subject and didn't see anything worth while.

I didn't find anything better to photograph so I looked at the subject again.

I decided that even though I couldn't see anything worth photographing from the car, it was at least worth the trouble to get out and investigate.

Upon investigation, it turned out to be a lot more interesting than anticipated.

What can we deduct from this experience?

Well, finding photographs is about possibilities, not probabilities. If you only ever explored the things you were fairly sure would make a good image, you'd be narrowing your choices severely.

"Check it out" could be your mantra.

O.K., so I have walked up to the old turbine and see better shapes and textures than expected and I'm thinking there's a good chance of an image here - in fact I'm quite excited by the possibilities. I go back to the camera and get my gear. I return to the same spot and it's time to work the scene.

I start with a straight horizontal shot of the turbine blades, including some distracting background at either side that I will likely crop out. I then start to work with the parts, moving in, replacing my long lens with a wide angle so I can get really close to the blades and accentuate the curves and capture texture.

I'm having trouble getting an image in which both left and right sides are strong so I start circling the turbine, looking for a better angle.

I decide that the original position was best and now it's time to make small refinements - up and down, to and fro, left and right. I'm using a zoom so I can adjust the focal length too - is it better to be wide and close or far and long - I try both because I'm not sure.

And another pause to reflect on what's happening.

This "intermediate" stage is about finding the most interesting part(s) of the subject and the best position from which to view said same.

And back to the search. What I haven't done is to "compose" the image. I haven't defined the boundaries of the image. This isn't just a matter of framing, I also have to reconsider position to best strengthen the composition, without moving to a position which compromises presentation of the main subject matter. If I move six inches to the left, I can use that other blade to frame the edges, but how will that affect the streaks which are my main focus?

So stage three is about fine tuning and framing.

For further help with the art of seeing, I recommend the books of Freeman Patterson. He includes a number of exercises.