Pro technology creative photography methods of the thinking photographer

n r a o o K s Pro Techniques of CREATIVE photography METHODS OF THE THINKING PHOTOGRAPHER IAN BRADSHAW Pro Techniques of CREATIVE photography METHODS OF THE THINKING PHOTOGRAPHER IAN BRADSHAW HPBooks C o n c e i v e d , e d i t e d a n d d e s i g n e d by M a r s h a l l Editions Limited, 170 Piccadilly, L o n d o n W V D D Art Director Text Editor A s s i s t a n t Editors Assistant Designer M a n a g i n g Editor Production J o h n Bigg J u d y Garlick Carole D e v a n e y G w e n Rigby Pauline Faulks Ruth Binney Barry Baker Janice Storr P h o t o g r a p h s by t h e a u t h o r ; A d d i t i o n a l p h o t o g r a p h y by J e n n i f e r Allsopp v: 1986 M a r s h a l l Editions Limited, London Published by HPBooks, A division of H P B o o k s , Inc P.O Box 5367, Tucson, AZ n d Printing Library of C o n g r e s s Cataloging-in-Publication D a t a B r a d s h a w , Ian Pro t e c h n i q u e s of creative photography Includes index P h o t o g r a p h y — H a n d b o o k s , m a n u a l s , etc I Title II Title: C r e a t i v e p h o t o g r a p h y TR146.B792 1986 770.28 85-81329 ISBN - - - For H P B o o k s Publisher Executive Editor S e n i o r Editor Rick Bailey Randy Summerlin Vernon Gorter Filmset by F i l m t y p e S e r v i c e s Limited S c a r b o r o u g h North Yorkshire UK Origination by Gilchrist B r o t h e r s Limited Leeds UK Printed a n d b o u n d in Spain by Graficas Estella SA {l maIfof m m ' ~ V Contents Introduction 126 Reflections T h e key q u e s t i o n s 134 Focus o n buildings 20 Best sellers 138 L o c a t i o n shots 24 B e f o r e y o u begin 144 A q u e s t i o n of scale 28 T a k e six creative p h o t o g r a p h e r s 150 T h e silhouette 44 Portraiture 156 G l a m o u r p h o t o g r a p h y 56 P h o t o g r a p h i n g c h i l d r e n 164 N u d e s 66 W e d d i n g s 168 P h o t o g r a p h i n g a n i m a l s 72 T h e p h o t o e s s a y 172 Pictures that d o n ' t exist A story in c l o s e - u p 174 T h e h u m o r o u s v i e w 86 Cars on camera 176 Black a n d white 8 Sport a n d action 182 T e c h n i c a l i n f o r m a t i o n 102 T h e m o v i n g subject 189 G l o s s a r y 108 L a n d s c a p e s a n d l a n d m a r k s 190 Index 118 T i m e of d a y 192 A c k n o w l e d g m e n t s All rights r e s e r v e d No part of this work m a y b e r e p r o d u c e d or t r a n s m i t t e d in a n y form by a n y m e a n s , electronic or m e c h a n i c a l , i n c l u d i n g p h o t o c o p y i n g a n d recording, or by a n y i n f o r m a t i o n - s t o r a g e or retrieval s y s t e m , without written p e r m i s s i o n f r o m t h e P u b l i s h e r a n d C o p y r i g h t holder, except m the c a s e of brief q u o t a t i o n s e m b o d i e d in critical articles or r e v i e w s N o t i c e : T h e i n f o r m a t i o n c o n t a i n e d in this book is true a n d c o m p l e t e to the best of our k n o w l e d g e All r e c o m m e n d a t i o n s are m a d e without a n y g u a r a n t e e s o n the part of H P B o o k s T h e author a n d publisher d i s c l a i m all liability in c o n n e c t i o n w i t h the u s e of this information INTRODUCTION P h o t o g r a p h y is b e c o m i n g e a s i e r : m o d e r n technology n o w m a k e s it possible f o r anyone with a c a m e r a to t a k e perfectly e x p o s e d , s h a r p pictures S o m e c a m e r a s e v e n s p e a k , r e m i n d ing you to load the film But w h e t h e r you o w n a simple c a m e r a o r a c a s e full of e x p e n s i v e e q u i p m e n t , w h e t h e r you are a b e g i n n e r o r an e x p e r i e n c e d professional, you can i m p r o v e y o u r p i c t u r e s b y thinking clearly and creatively W H O ? W H A T ? W H E R E ? W H E N ? WHY? and H O W ? w e r e once t h e k e y w o r d s of the g r e a t d e t e c t i v e s Applied to p h o t o g r a p h y , t h e a n s w e r s t o t h e s e q u e s t i o n s can turn an absolute b e g i n n e r into a thinking p h o t o g r a p h e r T h i s book d o e s not tell you which c a m e r a t o b u y or e v e n w h a t e q u i p m e n t you n e e d B u t it d o e s tell you h o w to i m p r o v e y o u r p h o t o g r a p h s b y thinking clearly and asking t h e right q u e s t i o n s W h e t h e r the s u b j e c t is p o r t r a i t u r e , children, still-life, w e d dings, photojournalism, s p o r t , glamour, landscapes, travel, animals o r a r c h i t e c t u r e ; w h e t h e r you a r e taking y o u r first pict u r e o r y o u r t h o u s a n d t h , t h e s a m e r u l e s apply T h i s book tells you h o w to anticipate, i n t e r p r e t a n d e x e c u t e y o u r p h o t o g r a p h s creatively M a n y of t h e situations d e s c r i b e d have b e e n p h o t o g r a p h e d t o illustrate the thinking p r o c e s s in particular r a t h e r than photographic t e c h n i q u e s in general O f t e n t h e y s h o w t h e p h o t o g r a p h e r at work, as well a s the final r e s u l t s Developing t h e knack T h e thought p r o c e s s e s outlined in a section of this book m a y b e up t o eight p a g e s long, s h o w i n g t h e d e v e l o p m e n t of an idea f r o m bad t o good, o r e v e n g r e a t T h e s e t h o u g h t s flash t h r o u g h t h e m i n d of an e x p e r i e n c e d p h o t o g r a p h e r almost intuitively, in seconds I a p p r o a c h all m y a s s i g n m e n t s in t h e s a m e w a y Plan a s m u c h a s possible R e s e a r c h a n d anticipate, b u t always e x p e c t t h e u n e x p e c t e d I t r y t o view a situation a s if I w e r e an infinitely variable z o o m lens — f r o m e x t r e m e w i d e angle t o s u p e r t e l e p h o t o ; standing b a c k t o view the overall p i c t u r e o r closing in o n a small detail; looking up, d o w n and f r o m t h e side T h e r e is o n e golden rule that e v e r y p h o t o g r a p h e r should follow: K e e p it simple T h e b e s t i d e a s a r e the simple o n e s T h e m o r e complicated t h e c o n c e p t , t h e m o r e confusing t h e image All t h e g r e a t p h o t o g r a p h s t a k e n o v e r t h e y e a r s h a v e b e e n simple and u n c l u t t e r e d T h a t basic simplicity h a s b e e n applied t o t h e p r e p a r a t i o n of this book T h e r e a r e n o long, theoretical e s s a y s — j u s t t h e p h o t o g r a p h s , t o g e t h e r with concise advice k e y e d t o t h e pict u r e s Although I h a v e tried to k e e p t h e text uncomplicated, t h e r e a r e inevitably a f e w technical t e r m s unfamiliar to t h e b e g i n n e r T h e r e is a g l o s s a r y at t h e back of the book that explains t h e m In o n e section, six p h o t o g r a p h e r s with widely differing s t y l e s a r e given a model in a b a r e r o o m , a c a m e r a with a s t a n d a r d lens, a flash, a tripod and a choice of film T h e r e s u l t s s h o w h o w d i f f e r e n t p e o p l e s e e t h e s a m e subject By t h e s a m e t o k e n , t h e r e a r e n o absolute guidelines for good o r bad in p h o t o g r a p h y P e o p l e s e e things differently and their appreci- ation is largely a m a t t e r of p e r s o n a l opinion As r e a d e r and p h o t o g r a p h e r , you m a y or m a y not a g r e e with t h e v i e w s e x p r e s s e d h e r e But t o f o r m any opinions at all you m u s t think, and that is exactly what this book is all about W h a t m a k e s a good picture? A n s w e r the q u e s t i o n s W H O ? W H A T ? W H E R E ? W H E N ? WHY? a n d H O W ? and a good p i c t u r e is not far away B u t t h e r e a r e n o a b s o l u t e s in p h o t o g r a p h y P e r s o n a l opinions differ, and w h a t one p e r s o n loves a n o t h e r may loathe E v e n a m o n g professionals t h e r e is a w i d e variety of t a s t e a n d p r e f e r e n c e T h e r e a r e many p h o t o g r a p h s , h o w e v e r , that a large c r o s s section of p e o p l e a g r e e a r e good or e v e n great S u c h p i c t u r e s h a v e a visual impact that c a t c h e s t h e e y e of e v e n the m o s t casual o b s e r v e r P h o t o g r a p h s such a s the S t r e a k e r at T w i c k e n h a m ( s e e p 20) not happen o f t e n but t h e y b e c o m e k n o w n worldwide T h e t h i n k i n g process S o j u s t w h a t m a k e s a good p h o t o g r a p h and h o w you t a k e o n e ? N e a r l y all g r e a t p h o t o g r a p h s a r e essentially simple with a s t r o n g focal point D e s i g n is also important, and t h e e y e m u s t b e led to that point M o s t of t h e p h o t o g r a p h s in this book o w e their s u c c e s s to thought and creativity, not to unusual l e n s e s a n d a d v a n c e d t e c h n i q u e s M a n y w e r e t a k e n using l e n s e s within t h e s t a n d a r d focal length r a n g e T h e p i c t u r e s w o r k b e c a u s e they have b e e n thought out, s o m e t i m e s with c a r e f u l advance planning, o t h e r t i m e s by fast-thinking o p p o r t u n i s m T h e y a r e n e a r l y ail basically simple and uncomplicated by technical know-how M o s t p h o t o g r a p h s a r e t a k e n in color t h e s e days, but s o m e w o r k much b e t t e r in black and white — indeed t h e y positively c r y out f o r this t e c h n i q u e T h e thinking p r o c e s s t h u s e x t e n d s t o film as m u c h a s t o c a m e r a angles and s u b j e c t m a t t e r Thinking is also essential in choosing e q u i p m e n t It m a k e s little economic s e n s e t o buy an e x p e n s i v e lens if you will u s e it only o n c e o r twice a year T h e fisheye lens for t h e s h o t of S t Paul's C a t h e d r a l ( s e e p 18) w a s r e n t e d f o r t h e occasion You d o not n e e d a soft-focus filter w h e n you c a n b r e a t h e o n the lens o r s h o o t through c r u m p l e d cellophane and g e t the s a m e effect C o n t r a r y t o popular belief, e q u i p m e n t is not the m o s t important factor in taking a good picture While many a m a t e u r s b e d e c k t h e m s e l v e s with t h e " j e w e l r y " of t h e t r a d e , m o s t p r o f e s s i o n a l s strive t o lighten their load E v e n if you have e v e r y lens and filter o n t h e m a r k e t , if you can't think, you can't shoot T h e following p a g e s illustrate the thinking approach t o the six k e y q u e s t i o n s IAN BRADSHAW THE KEY QUESTIONS/1 WHO? In p o r t r a i t u r e W H O ? is always a key question, but it is not n e c e s s a r i l y t h e only o n e t h e p h o t o g r a p h e r h a s to a n s w e r successfully In this instance, it w a s t h e r e s p o n s e s to W H E R E ? and H O W ? that supplied t h e p h o t o g r a p h with its finishing touches Jill Kennington, a t o p international model in the 1960s, r e t u r n e d to modeling at the a g e of 40 M y a s s i g n m e n t w a s to p h o t o g r a p h a fashion s p r e a d f o r a magazine, and b e c a u s e Jill w a s being f e a t u r e d as a " n a m e " and n o t j u s t a n o t h e r model, a good, s t r o n g portrait w a s n e e d e d for the c o v e r Running quickly t h r o u g h the checklist: WHY? w a s obvious — t h e j o b w a s a direct a s s i g n m e n t W H E N ? w a s dictated by t h e p r e b o o k e d s e s s i o n t i m e Although W H O ? w a s the starting point, t w o f a c t o r s , W H E R E ? and H O W ? t u r n e d t h e basic idea into t h e s t r o n g image c h o s e n b y t h e publishers that eventually dominated the magazine's cover I originally imagined t h e p i c t u r e a s being shot against a plain r e d background to k e e p it simple T h e a d v a n t a g e of this f r o m t h e graphic d e s i g n e r ' s point of view w a s that t h e r e would be plenty of s p a c e f o r logos and copy S e e n through the lens, h o w e v e r , the image lacked the impact I had anticipated With little r o o m to m a n e u v e r , I t u r n e d to possible alternatives T h r e e small t r e e s standing back-lit in t h e c o r n e r of t h e studio parking lot provided t h e inspirational s p a r k T h e s e s s i o n w a s hastily m o v e d o u t d o o r s I u s e d a simple white reflector, in this instance a p i e c e of white card, t o reflect light on t o Jill's f a c e u n d e r the brim of h e r hat A 0 m m m i r r o r lens m a d e t h e back-lit l e a v e s a p p e a r a s out-of-focus d o u g h n u t s h a p e s and gave a s t r o n g s e p a r a t i o n b e t w e e n subject and background T h e o r i g i n a l idea was for a plain red background, so Jill's straw hat would stand out, and soft light to lessen any skin blemishes But the picture lacked impact and the red background was too dull A simple move outdoors meant I could take advantage of the bright sunlight and the trees A reflector increased the light on the face A mirror lens "created" the background while adding impact to Jill's gaze WHAT? L a r g e , popular e v e n t s a r e o f t e n s o b u s y that it is difficult to isolate t h e b e s t pictures W H A T ? h e r e is C r u f t ' s D o g S h o w in London, w h e r e t o p d o g s c o m e to b e judged On s u c h an occasion many p h o t o g r a p h e r s c o n c e n t r a t e o n the d o g s and their o w n e r s P i c t u r e s of p e o p l e r e s e m b l i n g their p e t s h a v e b e c o m e familiar f e a t u r e s in n e w s p a p e r and magazine c o v e r a g e It is p e r h a p s logical t o think in this direction, but t h e b e s t p i c t u r e at a dog s h o w is not n e c e s s a r i l y of a dog W H E R E ? a n d HOW? t a k e a back s e a t in this e x a m p l e WHY? is simply that this is o n e of the f u n n i e s t p i c t u r e s to c o m e out of the s h o w for s o m e time It s u c c e e d s b e c a u s e t h e r e is not a single dog in t h e picture, y e t it s a y s Dog Show s o clearly you not n e e d to r e a d t h e caption T h e W H E N ? w a s the o b e d i e n c e class, in which d o g s a r e walked a r o u n d obstacles, in this instance t h r e e s e a t e d officials T h e p o s e and e x p r e s s i o n s of t h e t h r e e say, quite simply, Sit T h e timing w a s s u c h that all t h r e e e x p r e s s i o n s w e r e c a p t u r e d perfectly T h e p h o t o g r a p h w a s t a k e n for a n e w p a p e r and w a s , t h e r e f o r e , black and white, but it probably would not have w o r k e d half as well in color T h e s t a r k quality of black and w h i t e f o c u s e s t h e h u m o r of the situation M a n y really h u m o r o u s p h o t o g r a p h s are t a k e n in black and white and a p p e a r in n e w s p a p e r s r a t h e r than magazines Sadly, h o w e v e r , t h e n u m b e r of black and white p i c t u r e s t a k e n by a m a t e u r s is d e c r e a s i n g all the t i m e A p r e d i c t a b l e v i e w of the main judging ring at Cruft's shows what you expect to see at such an event — dogs S h a r p o b s e r v a t i o n and a little thought produced a study of the human element of the show, with not a dog in sight Technically, nothing more was required to make this picture than a camera with a standard lens THE GRAPHIC IMAGE B l a c k a n d w h i t e film can give a stark, graphic quality to an image that is enhanced by good, creative printing Looking for a lead picture for a photoessay on West Point Military' Academy in the United States, the photographer came across this imposing statue framed by an archway This could just as easily have been taken by a tourist, however What was needed was a figure to set the whole thing off A marching cadet came to the photographer's rescue and injected the required military flavor The right moment to take the shot was when the cadet was outlined against the white stone of the statue's base There was time only for one shot When the picture was printed, detail in the archway was eliminated by printing it to a solid black This made a strong frame for the marching soldier, focusing viewers' attention on the action The human figure, dwarfed by the statue, also gives a good sense of scale TECHNICAL INFORMATION If t h e approach to p h o t o g r a p h y d e s c r i b e d in this book had t o b e s u m m e d up in t w o w o r d s , t h e y would b e S T O P ! T H I N K ! If you d o n o t s t o p b e f o r e you p r e s s the s h u t t e r r e l e a s e and think clearly a b o u t t h e s u b j e c t you are going to photograph, and h o w you are going t o it, t h e e n s u i n g confusion will b e t r a n s l a t e d on film as undistinguished pictures T h e point h a s b e e n m a d e m a n y t i m e s that t h e r e is n o n e e d t o o w n sophisticated e q u i p m e n t in o r d e r to t a k e g r e a t p h o t o g r a p h s E v e n a simple c a m e r a can b e a c r e a t i v e tool in t h e h a n d s of a thinking p h o t o g r a p h e r F o r t h o s e who a p p r e c i a t e t h e technical details, t h e r e follows a list that includes the c a m e r a model (all w e r e Nikon), lens, e x p o s u r e and m a k e of film u s e d f o r m o s t of the p i c t u r e s in this b o o k Nearly all p h o t o g r a p h i c s u b j e c t s a r e c o v e r e d h e r e , but t h e s a m e r u l e s apply f o r t h o s e that have b e e n omitted A n s w e r t h e six k e y q u e s t i o n s b e f o r e you s e t out, and S T O P ! and T H I N K ! b e f o r e you s h o o t Nothing is impossible, but really g r e a t p h o t o g r a p h s m a y t a k e j u s t a little m o r e time and thought All t h e p h o t o g r a p h s in this book w e r e t a k e n with Nikon e q u i p m e n t T h e main p i c t u r e on a page is indicated b y an a s t e r i s k (*) T h e positions of o t h e r p i c t u r e s o n a page a r e detailed w h e r e relevant; o t h e r w i s e , information applies t o all p i c t u r e s on a page PAGE CAMERA MODEL LENS FILM EXPOSURE Jacket front F3 15mm Kodachrome 64 1/250 sec, /-8 8-9* F3 500mm Ektachrome 64 1/125 sec, /-8 10-11* F3 55mm macro Tri-X 1/125 sec, /-4 12-13* F3 50mm Ektachrome 64 sees, / - l l 14-15* F3 80-200mm zoom Kodachrome 64 1/500 sec, / - l l 16-17* FM2 80-200mm zoom Fuji 100 1/250 sec, /-5.6 18-19* F3 6mm fisheye Kodachrome 64 sec, /-8 20-21 FTN Nikkormat 200mm Tri-X 1/250 sec, /-5.6 22 (iabove) (below) F3 F3 35mm 35mm Ektachrome 64 Ektachrome 64 1/60 sec, / - 1/125 sec, / - l l 23 F3 500mm Kodachrome 64 1/500 sec, /-8 24 F3 24mm Kodachrome 64 20 sees, / - l l 25 F3 500mm Kodachrome 64 mins, / - 26 (above) (below) FM2 F3 24mm 300mm Kodachrome 64 Ektachrome 64 1/2000 sec, / - l l 1/500 sec, /-8 27 F3 105mm Kodachrome 64 1/125 sec, /-4 28-29 F3 15mm Tri-X 1/60 sec, /-5.6 30 FM2 55mm 3M 1000 1/250 sec, /-5.6 31 FM2 55mm Fuji 100 1/125 sec, /-4 32-33* FM2 55mm Fuji 400 1/15 sec, /-8 34-35* FM2 55mm Ilford XP1 1/125 sec, /-5.6 36-37 FM2 55mm Fuji 100 1/60 sec, f-4 38-39* FM2 55mm Fuji 400 1/250 sec, /-2.8 40-41 FM2 55mm Ektachrome 64 open shutter, /-5.6 42 (above) (below left) (below right) FM2 FM2 FM2 55mm 55mm 55mm Ektachrome 64 Fuji 100 Tri-X 1/250 sec, f-4 1/125 sec, f-4 Electronic flash, /-16 PAGE CAMERA MODEL LENS FILM EXPOSURE 43 (above) (below) FM2 FM2 55mm 55mm Ilford XP1 Ektachrome 64 Electronic flash, /-22 Electronic flash, /-5.6 44 FM2 35mm Tri-X 1/30 sec, /-5.6 45 FM2 35mm Fuji 100 1/125 sec, /-5.6 46-47 FM2 105mm Fuji 50 Electronic flash, / - l l 48 (above and below left) (below right) FM2 35mm Fuji 100 1/125 sec, /-5.6 FM2 300mm Fuji 100 1/125 sec, /-5.6 49 (above) (below) FM2 FM2 300mm 105mm Fuji 100 Fuji 100 1/125 sec, /-5.6 1/125 sec, / - 50-51* FM2 55mm Ektachrome 64 1/500 sec, / - 52-55 FM2 55mm Ektachrome 64 1/250 sec, / - 56-57* FM2 105mm Fuji 100 1/125 sec, / - 58-62 F3 55mm Fuji 100 1/30 sec, /-5.6 63* F3 55mm 3M 1000 1/125 sec, /-5.6 64-65 FM2 80-200mm zoom Kodachrome 64 1/250 sec, /-8 66 (left) (right) F3 F3 35mm 35mm Fuji 100 Fuji 100 Electronic flash /-8 Electronic flash, /-5.6 67 (above) (below) F3 F3 35mm 35mm Fuji 100 Fuji 100 1/250 sec, / - l l Electronic flash, /-8 68* F3 105mm Fuji 100 1/500 sec, /-4 69* F3 55mm Fuji 100 1/125 sec, /-5.6 70 (above and center) F3 80-200mm zoom Fuji 100 1/250 sec, /-4.5 70 (below) F3 105mm Fuji 100 1/500 sec, /-4 71 (above) (below left) (below right) F3 F3 F3 105mm 105mm 35mm Fuji 100 Fuji 100 Fuji 100 1/60 sec, f-4 1/125 sec, /-5.6 1/125 sec, /-5.6 72-73 (above) (below) F3 F3 80-200mm zoom 105mm Fuji 100 Fuji 100 1/125 sec, /-4.5 1/250 sec, /-4 74 F3 300mm Fuji 100 1/250 sec, /-5.6 75 (above) (below left) (below right) F3 F3 F3 300mm 200mm 24mm Fuji 100 Fuji 100 Fuji 100 1/250 sec, /-5.6 1/250 sec, /-5.6 1/500 sec, / - l l 76* F3 300mm Fuji 100 1/250 sec, /-4.5 77 (above) (below) F3 F3 80-200mm zoom 200mm Fuji 100 Fuji 100 1/250 sec, /-5.6 1/250 sec, /-4.5 CAMERA MODEL LENS FILM EXPOSURE 78 (