In November, I posted the first of a series of blogs to focus on each element of my newly-found approach: Luminosity; Contrast; Geometry; Colour; Atmosphere; and Connection. Due to my unexpected sabbatical it went no further, so I’ve decided to start again and repeat that blog.
“In the end, bless the darkness, hold the light, because the two aren’t divisible.” S. Kelly Harrell: Life betwixt: Essays on Allies in the everyday and shamanism
Luminosity sets the tonal framework of the image i.e. whether it is essentially lighter or darker overall: it also suggests the light source, whether this is direct e.g. the sun, or indirect as enhanced by the photographer through processing.
Exmoor…
Exmoor… is an example of a landscape image taken in 2011 where the light source is indirect from the sun on the left, and is evenly distributed across much of the image: there is just a little contrast in the foreground. While this used to be a favourite of mine, I now see it as rather bland, having no focused subject: I call it an “I was there” shot, as attractive as it is.
Protected path…
Now here’s an image taken with my new approach. Note the highly diffused light which draws the eye deep into the frame, and the illuminated path acts as a leading line towards the focal point. The air of mystery is created by the higher degree of contrast in the foreground and the structure of the overarching trees. To me, this starts to tell a story as well as being an attractive image.
Beyond…
A second - and perhaps more extreme - example makes the point in a different way. Here, there is very little light in the image, and what little there is emanates from the focal point where the path emerges into a distant glade. The lack of luminosity creates a sombre, darker and potentially threatening feel to this image, suggesting a different mood and story, and the viewer is invited to make more sense of it themselves.
There are two lessons here: when out in the field, I’m now actively looking for where the natural luminosity in a place helps to create whatever atmosphere I feel and want to re-create. And when processing each image, I start with no assumptions about how it will turn out, and aim to allow the luminosity to lead me in each processing decision towards a final balanced whole. Three more examples show how this works in practice. Can you see the difference to Exmoor… above?
