Exposed: The story behind the image.
I thought it would be fun to talk about the story behind an image every once in a while. So many photo bloggers to it, I thought, why not? What I really hope to do is demystify some of the technique or ability that many of us seasoned shooters have and show you it is just a combination of skill, guts and luck. Not always in that order.
I shot this image on the ’08 Lumen Dei workshop while in Delhi. I really love this shot for so many reasons. The blue shutter behind the boy, the arms up and hands on the back of his neck. But what make this a strong image is a couple of things. One, the sharpness on his eyes. You have heard me gripe that digital photographers over do the importance of sharpness at time. (see Steve McCurry Sharp ) I still believe this, but when you have a subject looking directly into the lens, you need two things; sharpness, spot on focus on their eyes and you need a great catch light. Never, ever underestimate the importance of a great catch light. The eyes are what we look at when we speak to one another face to face. Ever talk with someone who won’t look you in the eyes? You think, either they are up to something or they are very insecure. Our eyes communicate almost as much as our words. So if the subject, like this one, is looking at you directly, the eyes have to be sharp, the sharper the better in this case. The reason the catch light is important is it gives life to your subject. If you can see a refection in the person’s eyes I think you see some of their world. The catch light makes them real/alive in some way.
The second thing that makes this image work is the strong diagonal lines running from upper left to lower right. Diagonal lines create a dynamic force in a photo. Michael Freeman call’s it “unresolved tension” and I think he is right. People’s eyes already want to move from left to right in a photo, but with a downward slant of the strong diagonals you get at since of gravity pulling you through the photo. So a diagonal line running from left to right is a very strong compositional element. In this picture it is even enhanced as it is duplicated with the boy’s arms running parallel with the lines of the shutter. By the way, the lines of the shutter at a diagonal where intentional, I move to the boys left, my right to get those lines. But his arms were luck. Here is where I want to maybe do a little demystifying. When I saw him, his hand were on the top of his head. As I approached, as so often happens, he giggled and started to drop his arms. I knew I was loosing the shot. I shouted “Rukho! ek minaṭ.”, or “Stop! Just a minute.” in Hindi. At this his hands stopped on his neck at the same angle as the lines of the shutter. Pure dumb luck, or the grace of God, depending where you are coming from.
Hi Matt,
Thank you for sharing your behind the scenes tips. Here, besides the diagonal technique, you’re also telling us it’s important to know how to communicate with local people… When I went to Cuba, I was really happy to speak a little spanish (and it fortunately improved during the trip), so I was able to have a little chat with people while I was shooting street and portraits. Yet, I didn’t had sufficient technique to catch great portraits as yours!
No matter, I’m still learning (and hope that I’ll always do) and want to improve my work, so your advices and tips are welcome and great help! Thank you!
Take care!
Hi Matt,
Thank you for sharing your behind the scenes tips. Here, besides the diagonal technique, you’re also telling us it’s important to know how to communicate with local people… When I went to Cuba, I was really happy to speak a little spanish (and it fortunately improved during the trip), so I was able to have a little chat with people while I was shooting street and portraits. Yet, I didn’t had sufficient technique to catch great portraits as yours!
No matter, I’m still learning (and hope that I’ll always do) and want to improve my work, so your advices and tips are welcome and great help! Thank you!
Take care!
Heimana,
I am glad you feel this kind of thing is helpful. I know when I am struggling with a certain issue in my photography I find it very helpful when I find and read honest thoughts, critiques and creative techniques that might apply to my issue. I hope that my readers might find that here.
Heimana,
I am glad you feel this kind of thing is helpful. I know when I am struggling with a certain issue in my photography I find it very helpful when I find and read honest thoughts, critiques and creative techniques that might apply to my issue. I hope that my readers might find that here.
Good post matt, Keep them coming.
There is also wonderful contrast between the boy’s skin color and the background color. Great photo. And I like this Exposed idea as I instantly liked this photo, but I’m not certain that I could have articulated why. You’ve highlighted some of the whys that our brains process, but that we don’t always realize.
I look forward to more of these. It was a nice exercises in critique.
Catch lights, Catch lights- how do I love thee? Let me count the ways!
Thank you, Matt, for this reminder about catch lights, framing and composition and for giving us an insight into how you captured this beautiful portrait. The eyes are one of the first things that I tend to look at now when examining a photograph (both my own and other people’s) and if there is a catch light then it just seems to bring the face to life…there is nothing worse in a portrait than “dead”, lifeless eyes.
Sometimes though when I am shooting I can’t see if I have a catch light or not- I reakon I need new glasses?! or maybe I just need to get in closer 🙂
Vanessa, The whole concept of catch light completely eluded me for years. I kept looking at shooters like McCurry and could not quite figure out what it was that drew me to their images. Later I saw Ami Vitale’s shot of this boy with his face halfway out of the water and the catch light was amazing. I knew then what I had missed, and any portrait without a catch light for me would be a waist from then on. So now most of the time I will not even take a picture unless I see it in their eye. And yes, you can see it before hand. The secret is to have a bright surface or sky reflecting in their eyes. It is helpful if they are in the shade. Better light for portraits in the shade anyway.
Thanks Matt- excellent advice. So much to remember! I often carry one of those fold up reflectors with me but have never had the guts to use it on a “street photograph”. I will try looking around for a bright surface though next time I’m stuck. The sky can be a wee bit “dull” in winter in London!