Capturing the Moment The Essence of Photography

209 Pages·2014·7.3 MB·English

by  Michael Freeman

MICHAEL FREEMAN
CAPTURING THE MOMENT
T H E E S S E N C E O F P H O T O G R A P H Y

MICHAEL FREEMAN
THE MOMENT
CAPTURING
T H E E S S E N C E O F P H O T O G R A P H Y
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CONTENTS
INTRODUCTION
6
CAMERAWORK IN-CAMERA MOMENTS FAST MOMENTS SLOW MOMENTS
1 2 3 4
The fundamentals of shooting when time Moments that are mainly dependent Typically measured in fractions of a second, Moments that arrive and take place slowly
is of the essence, and when slices of time on point of view and framing—that these are the events we tend to think of as by our normal standards of perception, but
are embedded in the image, beginning exist for the camera only and not for momentary, demanding fast anticipation, are nonetheless critical for imagery. These
with preparation, a view of what a unique other people. recognition, and shooting by reflex. are events that unfold typically over many
moment can bring, shooting styles and minutes or hours, such as the passage of the
techniques, and the key role of editing. sun through the sky.
INTRODUCTION INTRODUCTION INTRODUCTION INTRODUCTION
8 38 104 168
A HISTORY OF MOMENT SLOTTING IN PLACE CLASSIC MOMENT ACTIVE MOMENT
10 40 106 170
PRIORITIZING MOMENT NEAT-FIT MOMENT MID-AIR MOMENT BACKSTAGE MOMENT
14 44 110 172
THE VIDEO-CLIP APPROACH ANTICIPATED MOMENT STILL-POINT REFLECTIVE MOMENT
16 48 114 174
URGENCY, PRECISION, SPEED ORDERED MOMENT TIGHT MOMENT MOMENT IN DETAIL
18 52 116 176
THREE STYLES OF CAMERAWORK PASSING FIGURE INTERACTION MOMENT COORDINATED MOMENT
20 54 120 178
POSTURE FRAMING MOMENT EXPRESSIVE MOMENT ART-DIRECTED MOMENT
28 60 128 182
GESTURE ADVANCING MOMENT MOMENT OF GESTURE COLOR MOMENT
30 64 134 184
EXPRESSION RECEDING MOMENT POISED MOMENT WEATHER MOMENT
32 70 138 188
EDITING SYMMETRICAL MOMENT MOVING TARGET SUNLIGHT MOMENT
34 76 142 190
COMBINING MOMENTS REPEATED MOMENT LIGHTING MOMENT
80 144 192
ADDING ACTION TO COLOR MULTIPLE MOMENTS SUNSET MOMENT
84 146 194
SHIFTING LAYERS A REWARD MOMENT SHADOW MOMENT
86 150 196
TABLEAU MOMENT FROM SCENE TO MOMENT BLUE-EVENING MOMENT
88 152 198
WORKED-FOR MOMENT DETAILED MOMENT SLO-MO MOMENT
90 154 200
BLIND MOMENT SEQUENTIAL MOMENT EXTENDED MOMENT
94 158 202
PLANNED MOMENT HOPED-FOR MOMENT AGGREGATED MOMENT
98 160 204
AMBIGUOUS MOMENT MOMENT WITHIN MOMENT INDEX & PICTURE CREDITS
102 164 206
INTRODUCTION
INTRODUCTION
“ Life is all memory, except for the present
moment that goes by you so quickly that
you hardly catch it going.”
TENNESSEE WILLIAMS
Just one thing sets photography apart from every elements in motion are in balance. Photography and shoot. The camera can do that for itself. If we
other activity or art. It saves one single moment must seize upon this moment and hold immobile want to be able to claim a moment in time visually
from a stream of real-life action and fixes it forever the equilibrium of it.” He did not mean that there as our own, we need to develop the skills to find it
(or at least until you decide to throw it away). is only one such moment per situation, because and capture it.
Some of us argue that capturing moments is what different people see things in different ways. But First, we’ll look at camerawork, and by that
photography does best, and that this is the skill to if you are aware as a photographer, there will likely I don’t mean how the camera works but how
hone and perfect. As a skill, it certainly responds to be one moment that’s right for you. photographers work with the camera—any camera.
being worked on, for the evident reason that some Put in the simplest way possible, moments are There are, for example, different styles of capturing
moments are simply more arresting to look at than about choosing when to shoot, about realizing that best moments. In particular, there are three main
others. Really good moments make compelling, the way things come together in the frame right contrasting styles, as much to do with personality
memorable photographs, and it’s easy to see that now may be better, or worse, than in the next few as anything else, which I call Fireman, Builder,
well-liked and famous images are the way they are seconds. Or minutes. The time frame varies hugely, and Marksman (read on for the explanation).
because the photographer caught something that from hours to a fraction of a second, but what Next comes the kind of moment that purely and
in turn caught the public imagination. Marilyn remains constant is that one point will deliver you only exists in-camera, and is to do with things
Monroe’s skirt flying up on the set of The Seven a more satisfying image than the others. But none coming together from one point of view and one
Year Itch, Robert Capa’s falling soldier, Ansel of this means much unless it is useful in helping photographer’s point of view. Then we look at fast
Adams’ Moonrise, Hernandez, and Alfred us all capture more interesting moments. And moments, which need qualities like anticipation
Eisenstaedt’s V-J Day in Times Square, are all there are skills and techniques—many of them— and planning much more than an exact shutter
about moment. that we can use to achieve this, which is why I’m speed (yes, I know that sounds strange, but it’s
It’s all too easy to get philosophical about this, going to limit the navel-gazing and concentrate true). Finally, there are slow moments, when the
but I prefer to get practical. We all use cameras on the practicalities of capture. This is all the pace of change can be measured in minutes or
now (even though many of them accept incoming more important now with the huge numbers of hours, but when also the decisions need to be
calls as well), so photography these days is less photographs being taken. One estimate for this more carefully considered. (cid:31)
about quietly appreciating other people’s images year is around one trillion, though I hesitate to
and more about shooting our own. We can start mention even this ludicrously large figure for fear
by demystifying the writings about moment, most of it quickly going out of date. The reason for this Photography’s unique abilities
of which feed off the endlessly quoted Decisive greater importance is simply that the more images The ability to freeze a moment in time has long been
Moment of Henri Cartier-Bresson. He meant that accumulate, the less memorable and interesting heralded for its aesthetic and philosophical implications.
But there are also captured moments that are even more
when it all comes together in the viewfinder, you they become. Standing on the shore of an ocean
powerful than a frozen frame of tense action, which also
know it’s the right time to shoot. He wrote, “Inside of imagery, you have to work harder to make one
speak to photography’s artistic strengths.
movement there is one moment at which the that stands out. It really isn’t enough to just point
6
7

C A M E R AW O R K
1
D
espite the technical-sounding title, this chapter is and emotionally, is that action going to make to the scene?
as much about ideas as about operating the camera. And is it, or should it be, small enough in the frame to be just
Rather more so, in fact, because well before the one element, or would it work better closed in on with a tight
mechanical issues of shutter speed, the choice of single or framing? Which would be more interesting? Which would
continuous triggering, and other settings, there’s the basic be more effective?
matter of what kind of moment will be the best one. The All of these decisions—and there are more—affect the
difference between the continuous flow of action that we see way the camera needs to be used. Camerawork is wrapped
and experience in life, and a still slice taken out of it, is a major up in all the reasons why you are shooting the moment,
jump, and not a completely natural one, either. We probably and so the techniques go much deeper than simply knowing
take it for granted more than we should, that the camera is what shutter speed is appropriate. One important range of
going to efficiently deliver a still version of what we’re looking technique that we explore in this chapter is between selective
at. Some of the time, with a more-or-less static subject like shooting and collecting a mass of images quickly. There
a building, a still life, or a landscape, it indeed turns out like is more to this than just a question of quantity, because it
that—a still frame from a scene in which nothing much reflects both personality in the photographer and the needs
is happening and where movement plays no part. and possibilities of the situation. I divide this into three main
Much more of the time, however, life and activity of groups of technique, which I call Fireman, Builder, and
some sort is going on in front of the camera, and the choice Marksman, for reasons explained later on. We’ll also look
of when to shoot becomes the main one. Some actions follow in more detail at the kinds of moment to expect from
a trajectory, such as a ball being thrown, a vehicle driving down photography’s most frequent subject—people. Posture,
a lane, a bird taking flight, and the good thing about trajectories gesture, and expression all contribute in different ways to
is that you know what comes next, and can prepare for it. Other how we appear in front of the camera, and the range is huge.
actions happen suddenly, with little or no warning, like a smile Finally, camerawork surely extends to the editing process,
on a face in the street, or something hidden bursting into view. not only because this is where photographers re-live their
These need reaction rather than anticipation, and a different decisions, but also because when you shoot it’s wise to
kind of preparedness. In either case, what difference, visually anticipate how you will treat the images later.