Tuesday, November 20, 2012
Monday, November 19, 2012
|The Experiments II: Stress Test|
Thanks again for stopping by!
|The Experiments I: Communication Isolation|
Tuesday, November 13, 2012
Thursday, November 8, 2012
Tuesday, November 6, 2012
Saturday, November 3, 2012
Tuesday, October 30, 2012
Monday, October 29, 2012
|Up is Relative|
|Baby Bean Baby|
Saturday, August 18, 2012
This is from a couple of months ago, still one of my faves. The way the light reflects off his eye is really what gets me. I intentionally left the door to help frame the subject. The detail in the fur and face are crisp, but overall this is a soft, dreamy photo. My opinion, o'course.
Sunday, August 5, 2012
Sunday, July 29, 2012
Thursday, July 26, 2012
Wednesday, July 25, 2012
So I’m sitting here thinking and can’t stop the thoughts. I’ll go ahead and share my thoughts with you, my kind readers, in the hopes it’ll be appreciated in some way. This’ll also bring down my stress level because this is my form of therapy.
Photography is a means of communication. It transcends time, distance, and memory. An image, or series of images, can bring you closer to someone else’s country, town, kitchen table.. smack dab into the middle of their lives. Through social networking sites, we can watch someone’s pet or loved one grow up. On Flickr I follow many proud dads and moms that bring their kids up in the social network spotlight. I see their kids as THEY see their kids. I see the good and the bad, the cute and the sad, as well as the surreal. I learn how to improve my photography by seeing amazing photography. Furthermore, by seeing others put their hearts on the line I’m less afraid to do so as well.
For the street photographer, documenting those ordinary moments puts the entire world into perspective. The interesting strangers they encounter become my characters- the scenes are their stories. There’s a fine line to street photography’s delicate simplicity. If the image is too simple there’s no story; too much disorganized chaos and there’s no story either. The images that just ‘work’ have a scene, story, and its characters. All these parts coming together form a balance that puts me, as the viewer, both as a spectator in the scene and a participant.
The macro photographer, like the street photographer, also documents ordinary moments. They need to look for an interesting character, a scene, the right light, and a story. For my macro, I try to find that sense of personality in my subjects. They may be tiny insects, but it’s not until you see them face to face that you realize how inquisitive and intelligent they are. Not to mention fast! Like a street scene, these moments come and go in an instant. If your eye can align the frame into a weighted composition, followed by your finger pressing the shutter, then there’s a proud moment indeed.
I really enjoy looking at photos. Before I started this visual/documentary hobby, I collected automotive photos. I loved the sleek lines, the motion, and how the photos gave such life to these inanimate objects (as opposed to living/breathing organisms). I still look at thousands and thousands of photos every month. I love the scenes and the stories, whether they are of the photographer’s mind or literal in nature. I look at the beautiful, the ugly, the dangerous, but am always moved most by the surreal.
So, how do I define surreal? Well, let’s start with what I don’t mean. I’m not talking about taking different images from different photos and making something new. This is definitely surreal, but basically in the ‘unreal’ realm. There’s no right or wrong, and there are many photos like this that I like. As far as not being surreal, I’m don’t get excited by things that you can tell are staged (such as forced perspective). Again, not that it’s wrong or bad, but that’s not what moves me the most.
Jean-Pierre’s (that’s me) definition of surreal: The scene, character, and time of day are all normal each by themselves. Everything in the image, on an individual basis, would be perfectly normal. It is moment in which the world aligns itself so that everything shows up within one frame at the same time in a way that’s not contrived, only captured by an astute eye, in an easy to digest way. The photo depicts where, who, and how, but makes you question them all the same. You are still asking yourself the why: why are they there? Why is the scene so integrated with the character? Why is this mood depicted, and why isn’t there any other mood?And that’s really it, a surreal image is a strong composition that creates a particular, storylike, otherworldly mood.
So all these meandering thoughts and words.. but to what end?
Your guess is as good as mine. But if you see the world any differently, or if any of this makes any sense, I think typing all this out was well worth the effort. I’ve just a learned a bit more about myself, and my photography, through this stream of consciousness article.
Thoughts, concerns, disagreements? Let the world know in the comments below.
As usual, thanks so much for taking the time out to visit my site and read my article.
Saturday, July 7, 2012
Wednesday, June 27, 2012
Monday, June 18, 2012
Monday, June 11, 2012
|Jumpy the Spider|
Sunday, June 10, 2012
Wednesday, March 28, 2012
Thanks for stopping by!
Saturday, March 3, 2012
I love Asian food. I love teriyaki chicken. I love rice with soy sauce on it. I love the texture of chicken made over a pan. I love using chop sticks when eating food out of bowl; it helps me to slow down and enjoy my food. I can really taste the mix of the salty alongside the sweet and smell the aroma of the simple ingredients. With photography, you need to SLOW DOWN and SIMPLIFY. It isn’t a race or a textbook. You are creating images of subjects you enjoy. You photograph things you love. Essentially, your photography is a part of you. Your photos reflect what interested you in that moment in time. Take your time, and keep it simple. The more you show in your photograph, the more hidden your subject/intent will be.
The kit lens allows you to do this for the fact that it is a lens. It’s meant to allow you to use your camera to make photos. You need to think ahead of time about what your lens can and cannot do. When a photo opportunity arises, it should be a matter of lifting the camera and taking the photo. After using the kit lens, you’ll learn everything it does well, everything it does badly, and everything you’d like to photograph. Once you’ve narrowed down what you love to photograph, you’ll know if an additional lens is necessary or not. If the kit lens does everything you need, save your money and go on a trip! But if there are things that the lens cannot do no matter what, then you might see in investing in a lens that does what you need. By doing the Prime Lens Conversion exercise, you’ll have figured out what focal lengths you might like. If you want to do bird photography, you’ll know that you’ll need a lens with lots more zoom/reach. If you do primarily indoor, low-light photography, you might want a lens with a larger maximum aperture. In turn, if you like photographing full scenes, you could get a wide angle lens. If you prefer in-your-face portraits, then you can get a lens that is more like what your eye sees, or a lot closer, to isolate your subject. You know now that your feet can help in this as well.
I hope you’ve enjoyed this short series. I tried to cover a lot of information as concisely as possible. There’s so much more, technique-wise, to try to explain. But this is a primer to get all that technical mumbo-jumbo out of the way so you can just go out and make some interesting photos. Even I deal with wanting absolute perfection in every photo and not end up with it. But it’s all about learning. It might take months or years to get to where you personally want to be. As a hobby, however, the photographic knowledge you acquire will let future generations know who you were, what you saw, and what that moment meant to you.
Thank you, from the bottom of my heart, for stopping by. Everyone can enjoy photography, whether from a cell phone or a more expensive camera. Gear is rarely the deciding factor of what makes a work of art. If you can imagine it, you can create it.
Tuesday, February 28, 2012
|Short Distance Call|
This is the next to the last post regarding kit lens techniques. Feel free to leave questions!
Monday, February 20, 2012
I'm glad you've hung in there through-out this series! Things are starting to wind down, so there'll be two more posts to round out this topic.
Saturday, February 18, 2012
|BunBun- Gone, but never forgotten|
Wednesday, February 15, 2012
Monday, February 13, 2012