Learning To See The Images Around Us
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- Опубликовано: 5 апр 2022
- In this video I discuss how I see images, thanks Peter Lawrence for the question.
For reference view my video titled "Developing Your Photographic Eye" which segues perfectly with this episode, here is the link..
• Developing Your Photog...
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Paul, always enjoy watching your video. Thanks!
Hi Paul,
Thanks for another thoughtful production. You touched on something that I carry, and that is, lift the camera to your eye and look through the viewfinder. Reducing your view to that rectangle or square, blocks out distraction. your view is limited and focused - you are now looking at a composition, evaluating, making decisions. I also find that is one of the elements of photography that is so immersive, that redacted view of the world, where you are in the scene, the scene is active - and you have effectively blocked out the events of the day.
And right again! Feel free to not take a photo if the shot isn't there - keep hunting.
Thank you Paul.
Hi John thanks for your comment. Yes its a simple but important element of the process, in my opinion, the intimacy you get from looking through the finder. Thanks and take care!
Great Video Paul, Fantastic subject, and a huge challenge, the thing I appreciate about your photography is the way you use simple things like a power pole or Poles and make an image! 10:31 is effectively 2 images or as many images as there are shapes and the 45 degree view is fabulous I love the bright sunspot behind the shed which creates depth and life. 10:46 I had to full frame the video on my IMAC to see the detail up on the hill ! it's there wow! Thanks for sharing!
Great advice, You are making YOUR art.
Hi Paul I always get something from your videos your Scenes From The Black Sand is wonderful by the way. 👍.
I completely agree with your sentiment in this video Paul, sometimes its not necessarily about the photography but about getting into that moment; its one of the reasons I have loved getting into film photography as it slows down and allows you to enjoy being in that moment and for longer. The resultant images are a nice extra especially if they turn out well.
Thanks mate
Bravo Paul, great shots.
Great episode Paul! I thoroughly enjoy the landscape and your thoughts on how you go about framing your motifs.
Thanks Jan glad you enjoyed.
That's a lovely little film
Almost like a pod cast with pictures
Your definitely right about not taking a photo if it doesn't make you tingle inside . Perhaps
the cost of film helps us to be less blasé
Its amazing when you get those special photos , you just know it inside , when I develop film that I think may have something special on them I get knots in my stomach as I start to fix and wash the film . It's almost stressful, that feeling of anticipation, excitement, doubt its what keeps me loading film rather than blasting megapixels
Thanks as always Paul.
You can def also do the 'being part of the picture' thing by looking at the screen! It's just what you're used to.
Heck even just imagining it kinda works if you don't have a screen and have to work at an awkward angle.
Simple & impactful photos as usual Paul. Thanks for this.
Thanks & your welcome
Thanks Paul, very interesting video
So many great insights here. Great video Paul!!
Thanks mate
Thanks very much. Appreciate it
Thanks Paul. I'm pleased you thought my question was worthy of a video. I like the way you go about constructing your images and the points you raised all make sense. Would like to drop you an email to 'talk' some more about it. Cheers
No worries, look forward to your email.
Nicely done video, Paul 👌 One aspect of photography that I’ve been thinking a lot about recently is the power of an illusion in a photo. I think your photo of the barn is a good example of this. Because you have created a frame within a frame. I’m reading a book at the minute and it’s says a few things about photography and illusions. The points that resonated with me the most are that a photograph it self is an illusion, and that photos without some kind of illusion in them might be considered boring, because our minds cannot try and solve the illusion. The question in my mind at the minute is how many illusions are there that a photographer can see and use.
Thanks Stephen that's some interesting ideas you bring up. We must catch up for a chat at some stage.
@@PaulCSmithPhotographer Sounds good. I’m passing through Taupo on the 20th. Are you still on the same phone number?
@@StephenMilner Yep drop me a line
I like to use a viewing card. Just a thin piece of cardboard with a cutout in proportion to whatever format you're using. Sometimes you can find compositions you wouldn't see without it. It can also help determine what focal length you need.
Good idea
Hey, Paul: Really good video about an important topic. It is a skill that can be learned, but is very hard to teach (my opinion). An inexperienced photographer watching this video would gain lots of helpful insight. Cheers!
Thanks Chris
Thanks Paul
Your welcome
Thanks for sharing your thoughts and advice on your approach to making an image without getting into technical parameters.
Thanks Peter
Thats why it's a good idea to work the scene especially if your struggling at first to get in the zone , some e days you just walk right in to the zone , other days you have to prize the gate open :) fabulous shots just ,love your NZ photography and the little things you find that say NZ
Really great video, Paul! Great production value! That intro was wonderful! You captured a really nice set of images and really great explanation of your thought process :)
Lastly, Iove the Olympus OM-D!!
Love watching you in your ‘flow’ state! It’s hard to describe eh? Things just click. I also find using different formats force a new perspective Eg Med/large format or pinhole and helps with creativity.
Hi Alan, thanks mate, I'm almost ready to pull out the HB.
This was a really nice video. The process you describe really matches up with my own experience, which is kinda a nice thing as it makes me feel like I must be somewhat on the right track!
For me part of getting into the flow is not having too much gear. When I was first getting seriously into photography I went all in with a huge 4x5 camera, handheld light meter, heavy tripod, loads of paraphernalia. I enjoyed the process of learning to use that stuff in a technical sense but in terms of creativity after a certain point I felt like it was getting in the way. Now I have sold off most of my gear collection and only use my Leica M4. I feel I get much more easily get into 'the zone' without lugging around so much stuff, and I actually find not having a light meter helpful as it increases awareness somehow, makes me pay a bit more attention.
Hi Marc, yes all of the points you make about lugging gear very much applies to me also. I did talk about the tripod thing but decided to edit it out of the video. Thanks for your comment.
Hi Paul - thanks for the videos - I enjoy watching them.
I have a suggestion. Many people have not seen the magic of a print "coming up" in a traditional darkroom. If there's any way to photograph this through the safelight, I think it would be of great interest to many. Perhaps show the whole process inc. enlarger. Just a thought...
Hi Norm, unfortunately I am one of those people. I have never experienced that process despite my greying hair. A colleague of mine has a RUclips channel that is heavily into the darkroom aspect of photography. "Shoot Film Like A Boss". Sorry I cant help, thanks for the question. Take care!
@@PaulCSmithPhotographer thanks for your reply Paul. I’ll have a look at your friend’s channel. I used to do my own processing & enlarging as a kid and teenager, on the kitchen table. Unfortunately I’ve long sold or given away all my gear. If you ever get the chance to see the whole “wet” process, I would encourage you - it’s very special. I grew up using my father’s 1936 Kodak Retina before graduating to SLR’s in approximately 1972. You HAD to understand the exposure triangle, depth of field and manual focus - most modern digital cameras seem unnecessarily complex, with layers of complexity not needed if you properly understand the basics. Norm
This video had a lot of depth. I’ve been thinking a lot since watching it about what makes one of my photographs seem successful to me or not, and I think it’s this. When we see a scene we want to photograph it’s because we have some sort of emotional/aesthetic reaction to it. My biggest disappointments in photography are when the photo fails to match the reaction I had at the scene, and that, unfortunately, happens more often than not. So, it occurs to me that perhaps the measurement of a successful composition is the extent to which the photo is able to match, to some extent at least, the reaction the photographer experienced at the time the photo was taken. It’s not so much the aspect ratio or the rule of thirds or other technical criteria, but more a matter of the emotional reaction to the photo.
Really good assessment Richard, pretty much sums up the whole process! Cheers
While I do try and emulate some of the photographers I like I don’t try copy another’s work. I try to be better than the images I made yesterday. Trite I know but I’m only in competition with myself
Good video Paul. A lot of basic truths there. I have a question for you. I only use film cameras. I can develop black and white film. But I'm stuck. I don't have a scanner. And have no idea what digital camera and lens I would need to scan negatives. Photo labs around me offer developing and printing. But not scanning. Any suggestions would be gratefully appreciated. 🏴👍
Hi Andrew thanks for the comment will have a think about your question
@@PaulCSmithPhotographer Many thanks for your reply. And for considering my dilemma. I enjoy the excitement and anticipation of film. ( if anything that I've taken has worked out). I really don't need a lab to print all my negatives because they're not worth printing. Expensive mistakes. I'm not looking to impress anyone else. Just be able to print photos I like, to put onto my walls. My apologies for rambling on.
@@andrewhawkins6454 Personally I would go out and buy a scanner, unless you have a digital camera with a macro lens. Plenty of "how too" videos out there explaining how to photograph a negative. But for all the hassle I would just go out and buy a scanner. Good luck!
@@PaulCSmithPhotographer Thankyou very much Paul. Much Peace and Happiness to you. Best wishes from Wales. 🏴👍
I dont know where you are located Andrew, but I use Imageland in Hamilton. I usually get the roll developed and get a set of prints, as part of the process I get the film scanned as well. Then you can download the files from their server for importing into your favorite process software.
I use the 6 x 4 prints for reference for color correction or contrast changes, plus you always have a physical copy. Once I process the images I pick a couple and print at 10 x 8 for my collection.
In your face.
Back at ya
Great content, you should do more tutorials, you’re a natural teacher.
I appreciate that! Thanks Don
Just a few seconds in: Dress for the slide, not for the ride! Wear a helmet!