Sometimes shooting a subject straightforward simply gives the best representation of the subject in combination with the photographer’s intent behind the photograph. In many ways that’s often the journalistic approach, although increasingly we see more personal interpretations also in traditional journalistic media.
Shooting something head-on will often be the first thought for most photographers. Besides being an obvious—and unfortunately sometimes also a lazy—approach, it suggests the obvious significance of some discrete thing to be shown in the photograph, something that would be self-evident in a clear, straightforward rendering. The most extreme of this would be as evidence in a photographed taken at a crime scene.
But then again, sometimes, a more playful, less obvious and straightforward approach might produce a more interesting and captivating photo. As a photographer it means taking your time when approaching the subject. Maybe shoot the straightforward photo, but then ask yourself how you can shoot it differently, how can you bring an element of surprise into the narrative of the photograph? «Tell the truth, but tell it slant,» wrote Emily Dickinson, the nineteenth century American poet. Emily had a brother who had a mistress. The astronomer husband of the mistress would have known that looking directly at a faint object, is not the best way to see it. The reason lies in the fact that the centre of the retina is not the part most sensitive to light; there is actually a blind spot right there. So instead of seeing straight onto a star far away in the night sky the astronomer would be using a technique caller averted vision, looking a little off to the side. This technique will make it possible to see a faint object better.
If we transfer this into a photographic understanding it would mean to look anew at the subject. Frame it differently. Focus differently. Find another viewpoint that isn’t that obvious. Move around. As I just wrote; trying to find the unexpected approach. Take the photograph above. I was doing a story about the booming economy in Ethiopia (right now, by the way, there is a massive hunger catastrophe on its way to the Eastern parts of Ethiopia, affecting all countries on the Horn of Africa). In Addis Ababa this was evident everywhere in the newer parts of the capital. Modern office buildings and high rising constructions were popping up almost all over place. I went around shooting the construction sites and buildings in steel and glass, but at some point I looked for a more averted approach. I went inside a shopping centre and started to shoot out through the windows and got quite a different perspective. I waited for people to pass by in front of the windows to create some life and not only showing architecture and cars. The picture made as one of the main photos in the story.
Do you deliberately think of using averted vision when you shoot (even if you don’t use the expression)? If you do, let us know how you use it. I think it’s always interesting to learn different approaches how different photographers see the world.
Facts about the photo: It was taken with a Lumix LX-7 with the equivalent of a 24 mm lens and the aspect ration of the frames set to panorama (16:9). The photo was processed first in Lightroom and then in Snapseed for a heighten boost. Captured at 1/1250 of a second and f/2.8.