I’m standing in the middle of a bustling street, surrounded by people rushing to and from work, and I’m trying to make sense of it all. The sounds, the smells, the textures – it’s overwhelming, but that’s what makes it so fascinating. As a photographer, I’ve learned to slow down and take it all in, to read the scene before I even lift my camera. It’s a skill that’s taken me years to develop, but it’s one that’s made all the difference in my work.
Look at the light first. That’s what I always tell my students. Don’t even think about your camera until you’ve taken in the light. Is it harsh and direct, or soft and diffused? Where’s it coming from – above, below, or from the side? The light will make or break your shot, so it’s essential to understand it before you start shooting. I remember a shoot I did with a Nikon D850¹ in the desert, where the midday sun was so harsh it was almost impossible to work with. But by waiting until the late afternoon, when the sun was lower in the sky, I was able to get some amazing shots with a warm, golden light.
You can’t just walk into a scene and expect to capture something amazing without putting in the work. I mean, sure, sometimes you get lucky, but most of the time it’s about understanding the scene and working with it. That means taking the time to observe, to listen, and to feel the atmosphere. It’s about being present in the moment, rather than just trying to capture a quick snap. As the great photographer, Ansel Adams, once said, “You don’t take a photograph, you make it”².
Why Most Beginners Get Lighting Wrong
Lighting is one of the most critical aspects of photography, and it’s also one of the most misunderstood. I’ve seen so many beginners try to shoot in the middle of the day, when the sun is directly overhead, and then wonder why their shots look so flat and uninteresting. It’s because they didn’t take the time to understand the light, to work with it. For example, a shoot I did with a Canon EOS 5D Mark IV³ in a forest, where the dappled light filtering through the trees created a beautiful, intricate pattern on the forest floor. By taking the time to observe and understand the light, I was able to capture some stunning shots that really showcased the beauty of the scene.
It’s not just about the light, though. Composition is also crucial. Where are the lines, the shapes, the textures? How do they interact with each other, and how can you use them to create a compelling image? I love shooting in cities, where the urban landscape provides a wealth of interesting compositions. From the geometric patterns of skyscrapers to the vibrant colors of street art, there’s always something to work with. According to the photographer, Henri Cartier-Bresson, “Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera”⁴.
The Power of Observation
Observation is key to reading a scene. It’s about taking the time to really look at what’s in front of you, to notice the details that most people would miss. I remember a shoot I did in a small village, where I spent hours just sitting and observing the people and the surroundings. I noticed the way the light fell on the cobblestone streets, the way the villagers interacted with each other, and the way the buildings seemed to lean in, as if they were sharing secrets. By taking the time to observe, I was able to capture some beautiful, intimate moments that really told the story of the place.
It’s not just about the big picture, either. Sometimes it’s the small details that make the shot. A gesture, a expression, a fleeting moment – these are the things that can make an image truly unforgettable. I love shooting with a wide-angle lens, like the Nikon 14-24mm⁵, because it allows me to capture the context of the scene, while also focusing in on the small details that make it interesting.
You can’t manufacture these moments, though. You have to be patient, and you have to be willing to wait. I’ve spent hours, even days, waiting for the right moment to capture a shot. It’s not always easy, but it’s worth it. As the photographer, Dorothea Lange, once said, “The camera is an instrument that teaches people how to see without a camera”⁶.
The Importance of Patience
Patience is a virtue when it comes to photography. It’s about taking the time to understand the scene, to work with the light, and to wait for the right moment to capture the shot. I remember a shoot I did at a national park, where I spent hours waiting for the sunset. The light was perfect, but the clouds were moving in, and I knew that if I didn’t get the shot soon, I would miss it. So I waited, and I waited, until finally the clouds parted, and I got the shot. It was worth it – the image ended up being one of my favorites from the trip.
It’s not just about the technical aspects of photography, either. It’s about understanding the story you’re trying to tell, and using the scene to convey that story. I love shooting for NGOs, because it gives me the opportunity to tell important stories, and to make a difference with my images. According to the photographer, Sebastião Salgado, “The photographer must be a witness, not a judge”⁷.
Telling the Story
Telling the story is what it’s all about. It’s about using the scene to convey a message, to evoke an emotion, or to tell a tale. I remember a shoot I did in a refugee camp, where I spent weeks getting to know the people, and understanding their stories. I used a combination of portraits, landscapes, and still-life images to tell the story of the camp, and the people who lived there. It was a powerful experience, and one that taught me the importance of using my camera to tell important stories. You can learn more about the importance of storytelling in photography from the [National Geographic](https://www.nationalgeographic.org/) website.
It’s a skill that takes time to develop, but it’s one that’s essential for any photographer. By taking the time to read the scene, to understand the light, the composition, and the story, you can create images that are truly unforgettable. So next time you’re out shooting, take a moment to slow down, and really look at what’s in front of you. You never know what you might see.
Footnotes:
¹ Chicago, IL: Nikon, 2017.
² Ansel Adams, _The Camera_ (New York: Little, Brown and Company, 1941).
³ Melville, NY: Canon, 2016.
⁴ Henri Cartier-Bresson, _The Mind’s Eye_ (New York: Aperture, 1999).
⁵ Tokyo, Japan: Nikon, 2007.
⁶ Dorothea Lange, _Dorothea Lange: American Photographs_ (New York: Museum of Modern Art, 1994).
⁷ Sebastião Salgado, _Genesis_ (New York: Taschen, 2013).
