If we could all remember that the moment is the photo then most of our problems would be solved. Problems occur when we either do not see the moment or we panic due to a lack of confidence that “the moment” happens to other photographers – but not to me. That’s when we use gimmicks. It really doesn’t matter how we shoot an image or by what means as long as it is ethical and credible. A photo either communicates effectively or it does not. But if we want to speak with more clarity through our images then we must learn the vocabulary of sight.
Have you heard the phrase “visual illiterate?” It sounds unkind but carries substantial truth. There are some who have never learned the language of seeing. I have always considered it part of my mission to overcome this disabling condition by producing images that can communicate to both the learned and the visually inept. As photojournalists we cannot be satisfied with choosing our own path to what we think is good or excellent. We are objective artists. Although photojournalism is often artistic, the key is good storytelling. We differ from an art photographer because we have a mission to speak the truth with artful eloquence. We do not ask viewers to form their own opinion outside of the truth because we should be concerned with telling visual truths with the purpose of telling others.
We should also become intimate with our language and the tools used to speak it – our cameras, lenses and lighting equipment. Consider that we are all given a portion of opportunities in our lifetime. We don’t get them all. We only get some. So what we receive should be treated with respect. Confidence in our heart, mind and soul combined with an intimacy with our equipment is our path to a more eloquent visual language. And consider that what is not spoken can be as strong as what is spoken. Images are the same.
Images speak from our hearts and minds. They reveal us. I think a stumbling block for many young photographers is a simple fear to be known. Each of us, somewhere deep inside, knows that our photography speaks about who we are. We are wrong to think it merely speaks of our skills. We must also realize that every image could have been made better. There are no exceptions. Of course, we all know that such perfection will likely never happen. We learn to accept what we have. But a healthy understanding that your photos will never be good enough will give us an edge against visual complacency.
Why the long intro? Because as we start this series of critiques I believe it is important to understand the basic foundation of every review. We are in the business of capturing true moments. We sit on the front row seat of life’s daily dramas. We have a duty to speak visual truths, to be the eyes for all those who were not there. Visual content is king but the “moment” is the scepter.
This photograph is a good introduction for this discussion. There is nothing inherently wrong with the image. Most would probably comment on the composition. I think they would be wrong. Clearly it is too tight on the left but that is the least of my concerns.
Rather, it is a classic example of photographer ego and the desire for a strong image overriding the subject. Study your images. In this case, ask why you included the red lockers as a dominant part of your image? Was it because they are important to the story? I doubt it. Chances are the photographer saw the people and the lockers as mere players to the photograph. Combine them both in an artful manner and you have a seemingly great photo.
That is the kind of thinking which will lead you into trouble one day. What do you do when there isn’t any strong graphic element like a row of lockers? What do you do when the lockers are anything other than a delicious candy apple red? Would you have composed the image like this if the lockers were substituted with a boring concrete wall? In the end, this photo is full of ego. It says, “See my cool photo.” It does not ask me to see the moment.
Ideally every aspect of an image should speak to the moment. The photographer found the moment but disrespected it. The photo is not of lockers but of people. Let’s all try to abandon the idea of making great photos and consider that we are trying to record great moments. How would that change this image? But first we must get past ourselves. It is the great dichotomy of the photojournalist to understand self in order to subdue self.
You shoot as you think. To completely ignore your personal viewpoint and emotions is a recipe for disaster. You must know yourself in order to grow. But, when images speak more about you than of the subject you become little more than a photographer. You may be very skilled one day but you will be no more than your ability to ignore self.
