When I teach workshops or talk about photography in other arenas, one of the most frequent advises I give is to keep shooting a scene. Most photographers—professionals and recreational photographers alike—tend to not work their subject enough. They move on to the next scene or the next idea or the next subject far too soon. Often it’s partly due to impatience and partly because we don’t want to impose ourselves on the subject—we feel we are intruding or disturbing the subject’s private sphere when we photograph. But it’s when you give yourself and your subject time to get used to each other things start to happen. It’s also by spending time with the subject that you give yourself a chance to work out the best composition, wait for the best moment and organize the space.
This process is a bit like dancing. In this compositional dance you make yourself move around the space trying to find new angels to see what they look like, all while relating to and interacting with the subject. It’s an intuitive dance, in which you lose a bit control and just let yourself flow with the energy from the encounter with the subject. And it’s not just you, the photographer, moving, changing the composition and awaiting the best moment. The subject and the world are moving around you as well; the world is your dancing partner. You are two who dance together—without knowing the steps beforehand—even when you are photographing a stationary or static subject. The world is always moving and so should you when you are photographing.
In this world that is always moving and changing, the specific moment captured by the photographer has a huge impact on the final image. And so does the vantage point. A gesture or a look may be all it takes. This can differ from one frame to next, and this slight shift can have a dramatic impact on the success of the image. You move till you and your subject are in synch and the space is lined up to emphasize your purpose of the photo. Bend your knees and change perspective. Alter the juxtaposition of the foreground with the background and the horizon. Move high or low. Dancing with the subject.
It’s all about subtlety. It’s about trying to frame the picture by arranging visual elements for maximum impact and communication. And it’s about finding that moment when you and your dance partner are completely coordinated and in balance (or even off-balanced and by that finding a whole new expression in your photography), when the instant of the move reaches its highlight. The compositional dance is also about tweaking the technique. The subtle difference in depth of field from one stop to the next can perfect and sharpen the final photograph, as can the proper blur-inducing of life-stopping shutter speed.
As Steve Simon writes in his book The Passionate Photographer: «Show viewers of your work a new view of a common scene. Explore different points of view by getting down, up high, in close, or some other unexpected camera position. This is where the dance should take you. You can’t be timid when determining your camera position. Find the best place to shoot by boldly exploring the scene.»
So when you feel like you have worked the subject enough, keep photographing. Don’t stop. Keep dancing. Because the dance doesn’t stop before you do. Work the scene. Work, work, work. Doing so helps us see the world in different ways while forcing us out of that comfort zone we often tend to curl up in.