Learning the artistic side of people photography - HOW?

[rushnp774]

I'm fascinated by people, and they are my primary interest for photography. I'd like to get into the more tasteful, erotic side of photography, but I don't want to do much unless I have a good grasp of what makes a photo worth looking at.

I finally got into photography about six months ago because I couldn't take not having a camera any more. I've had the desire to create artistic photographs for a long time, and just decided I had to take my shot at it. I spend lots of time reading books, taking test exposures, practicing lighting, browsing sites like Flickr & deviantART for pictures I enjoy, etc, and think I have a decent grasp of many of the technical fundamentals of photography.

But the question I always ask myself when I see works of art that really strike me is, "What is it about the piece/photo/painting/etc that just compels me to keep looking at it?" Anyone with today's equipment can take a technically "correct" image, especially with all the postprocessing tools available, but how do you take a picture worth looking at?

I know there's not a simple answer, and philosophers and everyone else have been contemplating it since art began, but I'd really like your opinion. I mean, I know that the art I like has something unexplainable that the majority of my photos lack. What is it?

Are there books that can help teach this? Does it come down to thousands of exposures plus good luck? Is a formal photography/design/art education needed? Is it just a gift that some people have and others don't?

I usually have an image of how I want a photo to turn out, and what I'd like it to say, but things never seem to work out how I envision.

Sorry for the long-winded post, but this is something I wrestle with every time I snap the shutter, and I seriously want to create fantastic images, but I find myself frustrated quite a bit. If you want to, I'd absolutely love any critiques or suggestions about my work:

Model Mayhem
Flickr (more pics from each shoot)

Thanks in advance for any opinions or suggestions on how one is supposed to learn the artistic side of photography.

Kyle

 

[AliB]

Now there's a question!

As you say, it's one thing getting a properly exposed image in the first place but quite another getting it to look and feel the way you can envisage it in your head. I think it's something that most of us who have ever tried this have (and continue) to struggle with.

I had a quick look at your flikr pics and a couple of minor things stood out for me. On the subject of PP work, the shots you did of Celeste have a little more to give (IMHO) if you could mask and darken some of the background detail I think she would come alive a little more. But that's a fairly minor thing and probably very subjective too. In other words, it's what I'd do but that does not make it right.

The other and more significant point is eye contact. Have a look at the images that you like and admire and analyse them for eye contact. I note that you have good eye contact in each of yours whereas I kind of like that almost voyeuristic approach of not always having eye contact. Indeed one of my tutors (Mark Cleghorn, if you google him) often cuts off very strong images at the lips. Might seem odd but it works in context.

You are on the right path though because there is a recognition that there is something you want to change. Print out images, cut out images from mags that you like and study them for composition and lighting. Those are then the tools that you can try to bring to your next shoot.

Onwards and upwards!

 

[rushnp774]

I had a quick look at your flikr pics and a couple of minor things stood out for me. On the subject of PP work, the shots you did of Celeste have a little more to give (IMHO) if you could mask and darken some of the background detail I think she would come alive a little more. But that's a fairly minor thing and probably very subjective too. In other words, it's what I'd do but that does not make it right.

It's funny you mention that about the shots of Celeste, because I did that to every one of em . I tend to do that to many of the shots I take outside because I'm just not good enough (yet) and controlling and working with the lighting in nature. It also wouldn't surprise me if our monitors are quite different because the backgrounds were starting to look a bit too dark on my monitor. Oh well. Thanks for the tip though!

Also, it was dark outside, and started to rain about 30 minutes after we started shooting. Conditions were less than ideal, but I think they turned out alright considering. We're working out a make up session hopefully sometime soon, because this is the 4th time we've been rained out. Fate doesn't want us working together I guess...

The other and more significant point is eye contact. Have a look at the images that you like and admire and analyse them for eye contact. I note that you have good eye contact in each of yours whereas I kind of like that almost voyeuristic approach of not always having eye contact. Indeed one of my tutors (Mark Cleghorn, if you google him) often cuts off very strong images at the lips. Might seem odd but it works in context.

Yeah, eye contact can make or break many images. I'll definitely experiment with it more as my photography career progresses. I think once I get a studio, I'll be able to practice more effectively, because I've always found that it's easier to be relaxed (for both of you) and focused on your model in the studio without all the outside distractions of weather, people walking around, etc.

I Googled Mark Cleghorn and very much enjoy his work. You're a lucky person to have been mentored by him. I didn't see any shots though that were cut off at the lips. Maybe I missed them, but did look through several of his galleries.

 

[AliB]

Glad you liked Mark's stuff. He's a good laugh too The shots I was thinking of were part of a series he did on bags and shoes. Sounds odd but they were really inventive. They were on a training film that he did that's availble on www.phototraining4U which is a fab resource for learning. Online video tutorials that you watch as often as you want. (Yes you need to pay for them but it's not horrendously expensive for what it is)

Don't let the lack of a studio hold you back. I don't have one so I do need to work smart. I did a shoot today with 2 girls and I shot it all in my spare room with window light and one flash. Necessity is the mother of invention. Ok if I need to shoot full length I need to hire a studio but I only do that when I need the full length shots. Urban architecture can provide a wealth of opportunites. I'm planning a bridal shoot in an underpass with some fellow photographers.

Keep up the good work, I enjoy your images and you are definately on the right track.

 

[HoppyUK]

The camera can only ever record what is in front of it. Relatively speaking, what you can do with photographic equipment and technique doesn't change things that much.

If the subject is not interesting, and the light isn't up to much, then it's usually quite hard to get anything really special no matter what you do, how good you are, or how hard you try. (Silk purse and sow's ear ) On the other hand, many great photographs are often technically less than perfect, but the subject matter is outstanding.

I think the trick is first to find an amazing subject, and arrange it, pose it, cajole it and manage it as best you possibly can. Make the light as good as it can be, find the best angle, optimise the camera controls, perfect your timing. If you do that, then you'll have some truly great images, but the chances of getting that lot absolutely spot on are slim indeed. Even the finest photographers don't manage it very often; far from it - Ansel Adams reckoned that 12 decent photos a year was a good score.

Don't expect amazing results every time; it's not possible. But if you keep trying and learning, your success rate will rise. When we look at a great photo, we don't see the hundreds and thousands that went in the bin, or the years of work that went into making them.

BTW, you have some great images!

 

[rushnp774]

I suppose you're right Hoppy. I'm really trying to focus now on finding models with a very specific look, attitude, & style that I can work well with. Up till now, I've pretty much been working with anyone who says yes I'm sure my work will improve quite drastically in the coming months if I can find the type of models I click with well. Thanks again!

 

[HoppyUK]

I think the difference between outstanding photographers and average ones is their ability to see potential in a subject or situation (that might not be obvious) getting themsleves equipped and in a position to capture it, and then having the skills to get it out. Some of that skill is photographic, but much more is down to hard work, persistence and personality. Persistence in any line of work is a great virtue and I don't know anybody who is really good at anything who has not been working persistently at it for a long time.

As I say, all we see is the end result, and not all the graft that went in to achieving it. Great news pictures are rarely the result of amazing photographic execution, very often simple snaps. The real trick is being in the right place at the right time (the 'decisive moment') watching a potential situation evolve into a great photo, and being absolutely ready when it comes. Great news photographers deliver the goods time after time, but very little of that is down to pure photographic skill.

You seem to have a certain style, or at least your best images have some common characteristics. If you can identify them (and you already have) and ensure that every shoot has at least several key aspects in place, then you are improving your chances no end. In your fashion pictures, what stands out to me are strong graphic elements, bright colour, attitude and slightly shocking juxtapositions, sexy look/pose, unusual lighting/flash, bold poses and confrontational eye contact.

And of course, the models make a huge difference; it can all turn on a look. For example, Jessica has got it, Kelli is too nice, and Lacy I'm afraid hasn't got it in front of the camera. Park the cliches - a basque is not automatically sexy, and lose the daffodils