photography composition: working toward the final image
When I first immersed myself in photography way way back, it took me a while to realize that what I see in a magazine or book, isn’t necessarily the first image. Those incredible images that can inspire us, (or even make us just want to give up photography), most often are not fully-formed masterpieces. Most often, the photograph that we as the viewer are presented with, are but one of a series. One photograph that stood out, or where the elements in the photograph were controlled by the photographer. And even with the work of hardcore photo-journalists, what we see, have been “controlled” and “adjusted”, even if only in terms of lens choice and composition.
With that realization, I felt less intimidated by the great photographs that I saw. They had become more accessible in a way, and more attainable to me as a new photographer.
Photographs with impact or appeal could come to be because of serendipity or foresight and careful planning by the photographer. Quite often it’s just recognizing the potential of a scene, and working with it to finesse the elements, such as the composition or lighting or, with portraits, the pose.
So it is with this photograph of Jessica Joy, taken just before we started the photo-shoot mentioned in the article, colored gels with flash photography. The final result shown here, is a little bit of everything – a wonderful subject, an opportunity, and then over the course of several photographs, finessing it.
While I really like this image, and think of this as the final image that I want to present, it didn’t just “happen” as the first and only image. There was an entire sequence leading up to it. It is this first recognition of a potentially good photograph, and then the thought-process in the sequence, that I want to show here.