The story begins
Once upon a time, a long time ago, someone tried to define the continuous and hypnotic state of living through the lenses of the camera. What do you mean hypnotic? Well, you just try to hang around a neck all day long and furthermore, to be swung carelessly and mercilessly in the burning sunshine. Let me just tell you how much dust and light I've swallowed because of a maniac, a lunatic who kept me hanging. Yes, by the neck (his).
I promise to also reveal some tricks I have experienced myself. Don't laugh, it's no fun looking straight at the sun while keeping your head down.
Hot summer morning and a lot of noise in the hallway, suddenly felt and extremely unpleasant sensation. Awakened by HIM from my sound sleep on the office desk, grabbed by the belts and lifted into air. I closed my eyes . . . and there was not much light . . . a hallway reeking of scents and smoke, bearing the marks of time on all its walls. 1/2 hmmmmmmm . . he's leaning against the wall, the film sensitivity is not very helpful . . I open my eyes widely . . . maybe I'll manage to catch the details, . . . it would be a real shame to be lost. Aghhhh, I've been so comfortably seated on the monopod . . . now I can watch at leisure. I don't even know what to show him . . . He's waiting for the moment when the dark and gloomy hallway will be enlivened by an opened door . . . and noises will come out together with the people . . . on the hallway.
I make no effort to get academic, I simply wait, I don't think the topic requires erudition, but rather a state of mind . . I try to grasp his intentions and react spontaneously. I'm considering whether I should animate the atmosphere . . . yeah, that would be . . . everything is so cold and dull . . .I switch on 3500K . . . that's much better. I'm waiting, he's waiting . . . My eyes almost close down from the dim light and smells. A loop cracks and a door is slammed to the wall . . . a man takes his head out and gazes on the hallway . . I keep still and calm . . I shoot in the dark . . I look straight into the screen . . . Shapes and lights wrinkled on the expression of violence . I switch to 1/2 . . I need light . . I hope the violent man takes a moment of rest in the middle of the hallway . . . although his movement would dramatize the shot . . . that would be probably better nevertheless. I shoot two pictures . . , different exposures . . . different states and images,. I expect more from the silence breaker in the hallway . . . however I can't find the meaning of the pictures taken so far, I need more, I don't feel the story. I get closer and closer to the room with the screams, a breath of air for me . . the light . . agh, I need to change my settings again, I should have saved my pre-settings . . . it's alright . . . I change the white balance and timing . . . I wish I could catch the cold look of violence in a frozen image . . . 1/60 with 6000k is perfect. I lean against the door cast . . . and I wait to catch him when he comes out.
Long legs and dusty boots, a shiny buckle . . . and a small head. But expressive, downtrodden and with hand reaching for the camera. I shoot calmly and coolly. He gesticulates, and his hands hang around with huge palms. I feel content . . . somewhere in the corner of the picture I caught the frightened look of the lady with makeup marks left by crying. He mumbles something and slams the door . . a cloud of dust in the light coming from beneath the door . . and I have finished my picture story. I get up and I go to my room. He places me on the table and goes to the office . . I would be curious to know how he sees everything I showed him.
Wouldn't you? I expect special and personal visions/views on the topic.
The stories posted here have the practical aim of high-lightening certain aspects of photo technique, small tips used in harsh circumstance photographing and not only.The difficulties photographers seldom encounter and which can be overcome with a bit of imagination and inventiveness. Combining inventiveness with technological possibilities of the camera and with knowledge related to photo art defines what is known as photographic style . . and results in maturing through the transformation of the photographer's vision upon image and its capacities to transmit or alter the viewer's states. Seen as such, the photo reclaims its right as direct or indirect communication means.
Targeted and conscious usage of light, technique and composition can increase the revealed reality of a photo, hence the image awakens poor interest in the viewer and implicitly cannot produce visual memorization. Visual memorization of an image is obviously a complex process but can be stimulated, enabled and educated, reaching thus the general motivation for taking pictures and exposing them as conscious modifying states and not as mere images taken out of the primary visual 2d.
Consequently, accepting that the Image/Photograph is a powerful form of mind and reality perception molding, we only have to establish further practical methods via which it can generate positive or negative feedbacks.