Sometimes it’s hard for me to look back at the pictures I created when I was a beginner. The footage is all technically strong, but something is still missing. That missing element can be defined as visibility. In this article, I will detail my journey to understand the need to incorporate this important element into my art.
In the early days of my photography career, I was used to being assigned the subjects and scenes that I shot. My clients are record labels and music magazines and they know exactly what footage they want when they hire me. Although they rarely give me a written shot list, I understand the specific shots they want. If I were to take a picture of a new artist who will be signing him on that day, the agency wants a picture of him signing, a picture of him looking up when signing the contract, and a transaction photo of him. Artists stand alongside key figures from the label. While the studio won’t ask to shoot the artist alone, I usually take the photo as well because I know I can sell it through a stock photo agency. This has been my approach when working for clients for many years and it never occurred to me that the way I photograph this type of event would be flawed.
One of my favorite gigs that I was assigned to photograph regularly was the feature where I would follow a hip-hop artist all day and document what they did. I will shoot in a variety of locations such as jewelry stores, restaurants, radio stations, recording studios, and even the artist’s home. Since locations are visually interesting and artists are always in style, photographs are always powerful. I view my role as a photographer as someone who will document what is happening without interfering with what is happening. Today, I realize that I often don’t convey enough of my vision within my photographs.
About a decade ago, I came in contact with the photographer, David duChemin. The equipment is good, he believes, but the visibility is even better. He is the author of several books that challenge photographers to think about why they are taking a particular photo. He asked us to examine what we were saying about ourselves and the world around us as we created the images. Think of your vision as how you see the world. As a photographer, your vision must be reflected in your photography.
Prior to my exposure to David’s writing, my primary concern was capturing images that an editor or a client would be pleased with. Over the years, I’ve come to realize my job as a photographer isn’t simply to capture footage, but instead to make a statement about the scene. By choosing a particular lens, using a non-standard shutter speed, or experimenting with different ways to compose a scene, we can make subtle comments about the scene. Imagine you were assigned to shoot a concert in a small club that was 90% empty. You can use a wide angle lens to show the artist on stage, and you can include a view of the empty seats in the venue. This shot will give the impression that the artist is not very famous. Or, you can use a long lens to show only the artist and you can give the impression that the artist is a superstar. I’ve always been aware of the layout options available to me, but before studying David’s teachings, I didn’t think it was important for me to think about the message I wanted to convey with my visuals. .
Today, instead of trying to capture a simple scene, I wanted to provide insight into that scene. If I offer nothing other than to document something, there is no need to hire me on behalf of another photographer. In a time when it’s easier than ever to operate a camera, your customers must understand that you offer more than that ability to operate.
One of the first photographers I ever met to understand how to communicate her vision was not a professional photographer. Her name is June Ambrose and she is a fashion stylist who has dressed artists and models in music videos. I was hired to take pictures of BTS in these videos. I would watch her take pictures with my phone and I was fascinated by what she chose to shoot. The focus of June is on fashion. She took panoramic portraits to showcase the fashion outfits the artist was wearing. She photographed details like belt buckles, watches and rings. She noticed things that I hadn’t noticed and didn’t care about either.
The images she creates are very different from those that I have produced. Unlike me, she wasn’t tasked with creating a stock photo of the entire video-making process. Instead, she had the freedom to take pictures of whatever she liked. Her photography conveys the message that the fashion elements in this video are true.
Over time, music videos became where I first began to explore my vision. Because I’m often on set for 10 hours or more, there’s a lot of downtime. I was able to ask myself, “What makes me feel good here on set?” During my downtime, I would talk to the video girls and others and I would take portraits of them. Many times, I brought a spotlight and did a small photo session without even asking permission from the production company. Over time, I found a magazine that would buy these pictures. This might be the first time I’ve actually been paid for my vision and not just my ability to operate a digital camera.
I understand why David says that gear is better than sight, but gear played a big part in my growth as a photographer. When I was a photographer for BET’s 106 & Park TV show, I used two Nikon D3s bodies to capture the images BET requested. My mental shot list for each episode includes at least 20 different types of images that I need to capture. Because I photograph 5 shows per week, I can reliably find the rhythm and produce the photos I need to take every day. I started using the Leica M9 to capture scenes that were interesting to me. These photos can be anything from a cheering audience, to a quiet moment of an artist chatting with a friend.
In case BET needed a clear shot of the artist taken against a white wall, I wanted to capture something more interesting about the artist doing something behind the scenes. Every day, I go back to the Leica images alongside the Nikon images, but BET rarely uses the Leica images as prominently as they do with the Nikon images. However, when I display a catalog of images from 106 & Park, it includes about 80% of Leica images. The Leica images are the ones that best represent my vision.
While it has been a journey for me to understand the importance of vision in my photography, you may have expressed yourself to the fullest. If you don’t have a client asking for specific photos and your photography is self-directed, you probably already have a good handle on the concept of vision. However, if you are a professional photographer shooting a well-defined genre – such as advanced portraits or head shots, there may be an opportunity for you to communicate something with your photography. yourself than you are communicating. Doing so may not bring you additional income in the short term, but it can help you create a flood of new jobs. Using a different camera to take these personal photos can benefit you. When I take close-ups, my camera is mounted on a tripod. If I use a different handheld camera to take pictures from a different shooting location, I may produce photos that are different from what my clients are expecting. There is no telling where these images might lead. Allow yourself to explore. Allow yourself to roam. Start by asking yourself, “What do I find most interesting about the scene in front of me?” Or, “What do I think of this scene in front of me?” Then use the camera to help the audience understand those questions.
