That’s what we’re all looking for. There’s no doubt that some photographers are good at what they do, but even the best can’t produce a great photo every now and then. So is there a secret recipe to create one?
Maybe we should start with the impossible task of trying to determine what is a great photograph and what is not. There is a great deal of subjectivity in the definition of greatness; it means different things to different people. There is a difference between a great photograph and a famous one, mainly because the popularity of a photograph often exists in modern times. The photos had a cultural impact by going viral quickly, but were quickly superseded by the latter and the first becoming a distant memory. However, the really great photos still stand the test of time.
There’s also a big difference between a great photo and a technically perfect one. While the technical perfection of a photo can be great, it is not a prerequisite of a great photo that it should be. That’s not to say we shouldn’t learn the technical aspects of photography; we should. But many believe that technical perfection is the ultimate word for creating great photos. Indeed, many low-level photography competitions are judged primarily on technical merit rather than on the more important creative aspects. Therefore, the judges often forget to look for the artistic messages that the photographer has conveyed.
Of course, there are photographs that achieve greatness through their technical perfection. For example, Ansel Adams captured and developed perfectly exposed landscapes. One of the original prints of Moonrise Hernandez, New Mexico sold for $819,400 in 2021 at auction, and he made more than 1,300 prints of that photo during his lifetime. But I wonder if that image is considered great because of Adams’ name. I doubt that there will be people who have taken technically perfect pictures that do not receive such recognition.
Let’s say we consider how well made so many photos are nowadays. In that case, it could be argued that Adams’ image, if taken today, would be so insignificant out of the 1.7 trillion images taken this year alone. One could even say that photography has progressed so much and become so prolific that it would be considered popular. However, few can deny that it’s a great photo. So maybe its place in history adds to its greatness. That coupled with Adam’s popularity in the world of photography. In other words, besides technical perfection, the historical background of the photo and the reputation of the photographer make it great.
Then there is pressure from friends. Some photographers are treated with holy reverence. It seems blasphemous to suggest that a photo of them is flawed.
Composition is a complex subject and there is more than simple ideas behind the obvious placement of subjects in a frame. Good positioning means thought has gone into it. That thought may be conscious or subconscious, but it rarely blindly follows some formula, such as the rule of thirds, symmetry, or golden part. A great photograph often uses composition techniques to achieve an effect that matches the subject matter. For example, diagonal composition adds tension and can be used where that tension is desired, while symmetry can be more calming in a painting.
Some photographers regularly use composition techniques to add continuity throughout their work. For example, Cartier-Bresson has pursued the golden ratio throughout his career and his emphasis on this is far more important than precise exposure control. Unlike Adams, over time he rejected darkroom techniques and focused on pure photography, emphasizing the subject’s position in the frame and the decisive moment.
Take for example his most famous shot, Behind Gare Saint-Lazare . Train Station. Most photographers today wouldn’t aim to render the main subject slightly blurred. But that photo is about that decisive moment. It recorded a fraction of a second before the man stepped into the water. It shows that motion blur can work. More controversially, one could say it was a technical error, but that doesn’t matter because that’s not what the photo is about; it’s not relevant.
One thing that both of those photos have is a story. For me, Adams’ photo is about moonlight illuminating snow, towns and graveyards, while Cartier-Bresson’s photo is about a man about to get his feet wet. I say “for me” because with each photo story the interpretation is personal, and you can read something very different between the two. An important note for photographers is that the viewer may not read the same story in the image originally envisioned when the photographer releases the shutter. Furthermore, we may be forced by photography or art criticism into what an image means, but we don’t necessarily agree, do we?
Many great photos elicit an emotional response. In art, it is recognized that negative emotions are stronger than positive emotions, so a photo that makes us sad or angry is stronger than one that makes us happy.
A great photo is not a duplicate of other images, although I have seen great photos that deliberately parody various popular themes. But one downside of contemporary photography is the difficulty of capturing a unique photo. However, there are almost limitless combinations of genres, camera positions, lighting conditions, subjects, exposure settings, focal lengths, and subjects. Great photos manage to combine those elements in a unique way.
Great photos are the result of hard work creating them. They don’t just happen; they require study and dedication to the arts. Most of the photos we consider great are the product of a lifetime of discovery. Adams and Cartier-Bresson have spent their lives trying to perfect their art. Like most other great creators, they are generous with their knowledge, never selfish, and always encouraging others.
One last thing that is completely out of the photographer’s control is the subjectivity of the audience. A photo cannot be labeled as great by photographers. It asks someone else to bestow that title.
Do I consider my photos great? Nothing. One of the joys of photography is the constant journey of improving one’s work.
