Power of Subtraction

Supposedly, when Michelangelo was asked how he had made the magnificent statue of David, he replied, “I just removed everything that wasn’t David”.
The Art of Subtraction
When I look at the work of other photographers, there are always a few exceptional images that really stand out. Most of the images that I look at get only a quick glance. However, when I come to one of those exceptional images, everything else seems to fade into the distance. I find my eyes roaming through the image, from point to point, taking in all aspects of the photograph. Often, I find myself going back to those same images to view them again.
I have often asked myself what makes those images so powerful. For me, the answer has become quite clear -- every one of those exceptional images communicates a strong emotion. I consider this to be the driving force behind the images. I believe that this is so important that I consider it the number one rule of photography:
ALL GREAT PHOTOGRAPHY IS ABOUT COMMUNICATING AN EMOTION
If this is the most important rule in photography (for me at least), what is the next most important rule? For me, the next rule flows from the first:
STRIP EVERYTHING OUT OF AN IMAGE THAT DOES NOT COMMUNICATE THE EMOTION!
So, photographers have something to learn from Michelangelo. To create great art, all one has to do is remove everything that is not great art. In terms of photography, all one has to do is remove everything that does not in some way strengthen the emotion. In essence, this is the art of subtraction.
Why is this So Important
A natural response might be to ask why this is so important.

Have you ever had some really great lemonade? A tall glass filled with ice on a hot summer day. The lemonade was great, and the ice made it even better. The ice complimented the lemonade; it seemed to strengthen the taste somehow. Have you ever left a glass of that icy lemonade sitting in the sun too long? By the time that you got back to the lemonade, the ice had melted. What did you have now? Luke warm, weak lemonade. And what did you do with that lemonade? Threw it out, most likely. Why? Because the water from the ice cubes had diluted the taste of the lemonade.
Similarly, items in an image that help the image communicate its emotion strengthen the image (just like the ice strengthened the taste of the lemonade). All other items serve only to dilute the image (as the melted ice cubes diluted the lemonade). In short, all things that do not strengthen the emotion of an image weaken the image.
Emotion and Composition
It all comes down to emotion followed by composition. Emotion is the driving force. Attempting to identify and capture an emotion is the one thing that should lead everything else in the photographic process.
Composition is what allows a photographer to capture the emotion. It is a matter of taking a viewpoint and framing the image in such a way that everything in the image strengthens the emotion.
Identify, Add, and Subtract
So, how does one go about creating an image that communicates an emotion? For me, it comes down to a three step process: 1) identify the emotion, 2) identify the elements that strengthen the emotion and add them to the image, and 3) subtracting everything else from the image.
Now, unfortunately, this is not something that one can teach like one would teach how to use Levels or Curves. Neither I, nor anyone else, can teach someone how to logically identify and analyze the emotional impact in a scene. In fact, this is contradictory. Emotions are something that we feel. Trying to teach someone how to logically analyze what must be felt is illogical. Each photographer must develop this ability himself. However, what one can do is show examples. This is the approach that I have chosen in this article. Three examples of how I applied the art of subtraction will be shown.
Waterfall





Figure 9: Schuler Falls






Figure 10: Pleasant Valley falls


Waterfalls are a favorite subject of many photographers. The waterfall shown in Figures 9 is on the historic Schuyler Estate in Rhinebeck, NY. The Falls was beautiful, and a number of different shots could have been taken. However, I was looking for something different than what is seen in these two figures. I was interested in creating an image that had a more up close and personal emotional feel to it. Three elements were needed:
· Cascading water. One of the things that made this series of waterfalls so attractive was the way the water cascaded down the rock forming multiple lines of flow.
· Up close. An up close shot was needed that would emphasis the cascading water.
· A foreground element that accentuated the cascading water.
Identifying what to subtract was easy. Essentially, anything other than the cascading water and the foreground element needed to be subtracted.
Some scrambling along the long series of falls (Figures 9 and 10 show only a small portion of the series of waterfalls) resulted in the discovery of a small waterfall that had just what was desired: beautiful cascading water and a great foreground element. The image was shot up close (the water spray was a challenge). The flowers in the lower right corner provide a contrast that grabs the viewer's attention. Normally, that might not be a good thing. After all, this image is supposed to be about the cascading water. However, the flowers are right next to the log. This log directs the viewer's attention straight to the water. Thus, the combination of the flowers and the log actually serve to strengthen the image.

What are not seen are all the distracting elements that surrounded the waterfall that were subtracted from the image. For instance, there is a fallen tree to the right of the waterfall that leans up against the rock formation that the water tumbles down. Had this tree been included in the image, it would have served to lead the viewer's eye out of the image.

: Frost Road Falls

The Power of Subtraction
As mentioned at the beginning of this article, when viewing other photographers work, I often see stunning images. The universal component of these images is that they have compositions where all of the distracting details have been eliminated. The photographers that created these images practiced the power of subtraction. The result is that all of the remaining elements in each image serve to strengthen the emotion of the image. Consequently, the viewer's attention is concentrated on that emotion to the exclusion of everything else.
On the other hand, I see many images that seem to communicate no emotion and that are cluttered with too many things. The interesting thing is that, sometimes, I look at those images and see that there was an opportunity to make a really good image -- if the emotion of the scene had been identified and the distracting elements subtracted from the image.
Many people, myself included, travel to locations hoping to find beautiful scenes to shoot. We think, "If I can just find that beautiful waterfall or grand scenic and include it in an image, I will have a great shot". The problem is, great images are determined as much by what is not in the shot as by what is. Photographers that have not learned this lesson are likely to be disappointed even when shooting in beautiful locations.
When we were in grade school, our teachers taught us how to subtract. Now, it is time for us to learn

Photographing Fireworks

For the last 25 years I have been around fireworks and fireworks shows. Both the nuts and bolts setup of shows and the behind-the-scenes techniques that make the difference between a hohum show and a spectacular artistic exhibition in the sky. I am privvy to this very private world because my family, more specifically my brother, owns a fireworks company that displays about 100 shows a year. I also shoot several shows a year. This, added to my background of photography, has given me some very special training at capturing these most elusive of images.
Fireworks can be a very difficult subject to photograph, the main problem being exposure, but with a little knowledge, care and planning, and the expectation of an above average failure rate some very satisfying results can be achieved. In fact it is the very nature of the element of chance which makes the good shots so pleasing to the photographer.
Choice of Camera. The first consideration is the choice of camera, the most important consideration being that manual control is essential. The constantly changing exposure time, colour balance and light intensity through the frame simply fools an automatic camera.A Simple Rule: I learned a very simple rule of thumb which has served me well: choose an aperture which is nearest to the square root of the speed of the film you are using. This is not as complex as it first sounds. Put simply, if your film speed is ISO 100, the square root is 10 and therefore the nearest aperture is f11. This an excellent starting point because a slow, ISO 100 is a good choice, or as an alternative use ISO 64 at f8. This brings us onto the exposure. The minimum focal length I use on my Canons is 28mm (35mm format equivalent). When photographing large shows from near NFPA minimum distances, I found that most of my shots were taken at or near 28mm focal length. If you don't know what the NFPA minimum distances are, don't worry about it. If you're on the "front row" at a large display (in the US or Canada), you'll probably be at or near NFPA minimum distance.
Since I use Canon pro camera bodies (high megapixels) and shoot in RAW format, I use a wide lens. This lets me get the whole scene in the frame and crop later at the computer for composition. If you don't have a lens as wide as 28mm, I would suggest setting up at a proportionately longer distance from the fireworks to take in the larger effects. If at all possible, set up in an location which is upwind of the fireworks. If the wind is blowing side to side, move to the upwind side of the field. I would not recommend setting up in a grandstand unless those stands are remarkably solid. You should place your tripod on solid ground to take long exposures.
Exposure A good firework photograph inevitably takes a number of seconds to expose otherwise it would have very little content. A camera with automatic exposure up to 30 seconds can give good results but sometimes you will hear the shutter click shut just as a seriously exciting shell explodes in the sky. The best bet in the long run is to use the B setting on the shutter speed, which keeps the shutter open under your control, and a locking cable release is very useful. The judgment you have to develop is to imagine the light from the fireworks painting itself onto the film surface. When you have built up enough of an image close the shutter and wind on for the next frame. A bright sequence or a sky full of fireworks may only take a few seconds while on the other hand you might keep open the shutter for many seconds when little is happening and build up the photograph over several salvos. Some photographers have even used the lens cap while the shutter is open, waiting for the next 'good bit'. Don't worry about reciprocity failure. It goes without saying here that a tripod is essential.
Focussing. Normally a critical aspect of photography, focusing takes a back seat with fireworks. Just set the focus ring on infinity and forget about it! Plan Ahead. Much of the success of fireworks photography is in anticipation and forward knowledge and planning. Knowledge of displays will help you to choose the right vantage point to get ground, mid-sky and aerial bursts all in the frame without too much, if any repositioning of the tripod. If you have planned displays you will also know of the importance of wind speed and direction when it comes to smoke. Composition. Remember the basic rules of composition and try to have something in the foreground and background to give perspective and context. If there is water around, the right angle to pick up reflections is also useful. Most of this is of course planned in broad daylight and without the pressure and problems of crowds. Relatively dim fireworks did not photograph well using the methods I've described here. I got some good shots of charcoal crossetts. These crossetts were relatively dense. Bushy charcoal comets turned out fine. Fill-the-sky kamuros did not photograph well. They are too dim for this exposure method and I suspect there's too much tiny detail to capture well on film. Although you will be concentrating on the fireworks, look around for other subjects. If have a second camera use it hand held for candid and quick opportunities. A child's face, for instance, thrilled by the action and illuminated by a spectacular shellburst can make a wonderful photograph.
Hope some of this "clicked" and is helpful. My last pearl of wisdom is experiment, experiment, experiment. As with any endevor, knowledge and practice = success.
Keep clicking

The Power to See

What is it about photography that makes it such a powerful medium? Clearly the technological innovation of capturing images has inspired and found numerous commercial applications and personal expression since it’s invention.
Apart from the fact that I enjoy being out in nature, one of the main things that drives me to do what I do is an understanding of the power of photography to have an impact on how people view the world around them. Most people never have the opportunity or at least take the opportunity to see the beauty that is nature. I hope that by photographing it and making it available to a wider audience, more people will value it enough to preserve it. But no two people are the same when it comes to human emotional makeup and the perception of beauty. What one person may view as the mundane may well be transcending beauty to another.
About 5 years ago, I took a walk in the Vanderbilt National Park which I am fortunate to live about 6 miles from. I was actually killing time before I needed to pick my son up from school. It was a damp and dreary day in which most would choose to stay indoors if they could. A freak warm spell in January (50 degrees) had the snow cover steaming with a mist that drifted straight up in the absence of any wind. I recall a few joggers looking straight down as they passed me; oblivious to their surroundings. A passing senior citizen commented to me about how he hated the winter. I, however, was intriged by how other-worldly the park seemed. The fog and limited visibility had a calming effect on me and I started to get a natural high from what I was experienceing. I only had to take a few steps from the beaten path before I felt alone. It was completely quiet and serene. I really haven't been the same since and have taken my camera and searched for that same euphoria many times since.


Below is one of many pictures I took in the park that day; the day no one wanted to experience. The day the joggers looked down at their feet and the senior grumbled how he hated winter. I have shared this image numerous times at art shows all over the Hudson Valley and sold it over and over again. The comments and noteriety I've gotten from this image will last my lifetime and it's magic is still not done bringing joy to others.







After picking my young son up from nursery school I returned to the park and took the image below. From this one image I have won 2 professional photography competitions http://www.westpinedesigns.com/About%20Us.html and a ton of free publicity for my landscape collection and portrait business.

A third image, also taken that day at the park, has been sold over and over again and has been published to a regional magizine.



Hope you experience the POWER TO SEE- you will never be the same!
Feel free to visit my website and give some feedback as I'm new to the blog thing.
"Keep Clickin'" West Pine Designs website


Mike