Some of you seem to be curious about DSLR cameras when this topic is brought up during the last meeting.

So, what exactly are DSLR cameras?

DSLR cameras – otherwise known as Digital Single Lens Reflex- is the type of cameras that most professional photographers use as compared to a Point-and-Shoot (PnS) camera. So, are DSLR cameras better than PnS cameras? Personally, I will say yes and no. Below are some disadvantages and advantages of DSLR cameras (I understand that this is not Photo IG, but it will be good to know as it will help you immensely in your editorial work):

Disadvantages: DSLR Camera

• It’s heavy: DSLR cameras are heavy. It is not for people who wish to travel light. Most of you probably wouldn’t pack a DSLR when travelling hundreds of miles, although travellers who love travel photography wouldn’t mind clocking miles with a DSLR, due to some advantages, which we will discuss below.
• It’s costly: DSLR camera – on the whole- is not cheap. In recent years, this has been changing, with prices dropping gradually. In fact, the technologies of conventional PnS and DSLR cameras are converging for some brands, which make DSLR affordable. Even then, the price is still considered quite steep for most brands.
• “Live-view” function: All if not most PnS camera users have the luxury of having a “live-view” function on your cameras. What does “live-view” mean? It refers to the little screen that you see at the back of the camera when taking photos, such that camera users need not manually look through the view-finders in their cameras when taking photos. Do note that some DSLR photographers prefer to snap shots using the view-finder over the “live-view” function and of course, they love the shutter sound, which is often absent in PnS cameras but makes photo-taking so satisfying.
• It’s complicated: DSLR cameras have some complicated (but interesting) functions and  features, such as sophisticated ISO settings, aperture adjustments, shutter speed, depth of field (DOF), white colour balance, different lens, multiple accessories (which includes the classic tripod] and tons of stuff that will scare any new photographers away. Personally, I will advise all of you not to worry about this, since most DSLR camera have specific functions for specific purposes (e.g. “Portrait” mode, “Nature” mode, “Sports” mode etc). However, if you really want to learn photography, I will recommend the ”Manual” mode. When we use this mode, we will make lots of mistakes and experience lots of disappointments. But this is the natural cycle of learning photography, as in most things in life. Having said that, do use selected modes when capturing photos for events as we usually do not have the time to make the appropriate adjustments using the “Manual” mode to increase the photo’s aesthetics value.
• Sensor dust: Since most DSLR cameras allow the use of various lenses, constant change of lens is the norm for DSLR photographers. However, in the midst of changing the lenses, the interior circuitry of the DSLR camera is usually exposed, thus providing opportunities for dust to seep in. Over time, DSLR photographers will find that there are “spots” in their images, which can only be removed using image editing programs or a more effective solution will be sending your camera for regular servicing and maintenance.

Now, we have reached the interesting segment:

Advantages: DSLR camera

• Wide variety of lenses: Unlike PnS cameras, DSLR cameras enable its users to select and change the lenses of their preferences. Most DSLR cameras have a wide range of lenses, ranging from zoom lenses to telephoto lenses to prime lenses to wide-angle lenses to macro lenses. This increases the flexibility of DSLR photographers when it comes to capturing images and allows these photographers to take more creative shots. To illustrate my point, take a photo of a printed piece of patterned paper using a PnS camera at very close range. You will probably get a very blurred shot. You will probably not see the patterns clearly. Now if you use the right lens (in this case, a macro lens) with a DSLR camera, you will get a very clear shot, and you can see the patterns clearly.
•  High-resolution image: Images captured by DSLR cameras usually have very high resolution. Usually, you should be able to develop up to at least A3 in size. Of course, there are variations, depending on the lens and the megapixels of the camera.
• Images are captured instantaneously: Personally, I feel that this is the best edge that DSLR cameras have over PnS cameras. DSLR cameras capture images once the button is clicked. For PnS cameras, there is a few seconds’ lag time. Most PnS camera instruction manuals will recommend pressing the button halfway for the camera to self-focus before pressing the button fully for the shot. This takes time and if you are an enthusiast of portraiture photography, the expression on the subject’s face that you want to capture would have been lost by then. DSLR cameras provide the advantage of the instant capturing of images with all adjustments made. DSLR also has something known as “FPS”, which basically means Frames per Second (FPS). This refers to the number of shots that a DSLR camera can take within a second, which usually range between 3-10 FPS. This is useful when capturing “in-the-moment” shots and sports. 
• More control: Remember that one of the disadvantages of DSLR cameras is their complexity in their functions as mentioned above? We can see this in a more positive light. While it takes time to master all the functions and features of a DSLR camera (yes, the learning curve is steep initially), I will advise that you make the effort to learn them well, since mastering these aspects of DSLR cameras gives you more control over photography. PnS cameras may beat DSLR cameras in terms of convenience and user friendliness but they will probably never beat DSLR cameras in terms of control. If you are an aspiring photographer who want to go professional, it will be great to get a DSLR camera and use it on “Manual” mode. Of course, PnS is still the preferred choices of most consumers primarily due to the ease of us and convenience.
• Stronger flash:  PnS cameras come equipped with a fixed flash. Try taking a shot of the buildings from across the street during any festive seasons in the late evening and you will see the limitations of the fixed flash. Try capturing images of performances on stage with a PnS camera and you will see similar limitations. DSLR cameras come equipped with a flash but it’s not strong either. But, for DSLR cameras, you are able to fix a bigger flash (in recent years, flashes are going remote as well, but for a higher price, of course) that is able to capture the night scenes well. This makes all the differences.

Still curious about the advantages and disadvantages of PnS cameras and DSLR cameras? Then it will be good to read an article by clicking here. I find it to be a very well-written piece.

All right, below are three more photos that might be of interest to you:

• Francisco Gonzalez Carbonell’s “Entre Amigos” (Please click here for the image):  Remember the times when you are taking photos of someone but the sun is behind the person, and thus their faces are in the shadows? Most photographers consider this as a mistake. But this photo informs us otherwise. Through the use of silhouettes, a photo can stand out as well.  This technique is useful when the identities of the subjects are not important or obvious, but the outlines tell us something. As photographers, we can make use of silhouttes to juxtapose the outline of the subjects with the skyline, as shown in this photo. However, it is important to note that the background colour must contrast strongly with black (which is the colour of the silhouette).  In this case, the photo works because black contrasts strongly with orange. If the sky is grey in colour, there may be an issue.  This photo will probably not stand out in this case. If this photo is in black and white, it will probably not look good as well. 

Situations when the use of silhouttes is useful:

ü  When the identity/facial features of the subject(s) is not important

ü  When the outlines of the subjects are important in the visual message that you are giving your viewers. For instance, it can be observed that the outlines of the three individuals in the photo “Entre Amigos” indicates a man, a lady and an unidentified figure when seen from left to right.  However, viewers should be able to interpret these individuals as a family watching the sunset. Being right when interpreting a photo is not important. What’s important is the fact that through the use of silhouttes, the photographer is given his or her viewers an opportunity to interpret it. This is important.

ü  When brightness contrasts strongly with darkness/shadows.

ü  When you want to project mysteriousness. Remember how frightening it is to watch movies where characters are seen shrouded in shadows? You can also use this technique to create a certain serious/sombre mood for the image.

• Eugenio Eugenio’s Photo (Please click here for the image):  Sometimes, it’s good to place a subject of interest in the focus while shooting a picture, as shown in this image. It can be anything. While this photographer positions himself in a kind of container while taking this shot, it need not always be the case, as illustrated by this photo here (where the front of a boat is used in the foreground instead).

Putting an object of interest in the foreground is useful for the following reasons:

ü  Emphasis on the object of interest in the foreground

ü  Relating the object in the foreground to the objects of interest further away (as shown in this image here). What message is this photographer trying to tell his/her viewers?

ü  It creates a “first-person” perspective on the viewers, thus bringing the existence of the photographer into the viewers’ awareness. This photo-taking technique is useful to photographers when they wish to put the viewer into a particular scenario. In this example, when you look at the first photo, you will experienced a somewhat claustrophobic feel while for the second photo, you will feel as if you are in the boat with the photo, following the boat in front of you. In another words, this photo-taking technique actually adds a sense of realism to what you are seeing. Another example will be Thibault Gregoire’s “smiling sunday” here, where viewers almost experienced the same emotional intensity as the photographer as the boy rush towards him/her with delight and exhilaration.

• Eugenio Eugenio’s Photo (Please click here for the image): Another technique often employed by photographers is what I call the “tunnel” technique, whereby the left and right border of the frame is occupied by some architectural structures, with the top frame often being covered as well. This photo-taking technique seeks to draw the viewers’ attention and focus within the confined space in the middle of the frame, as shown in this photo. When one looks at the photo it almost seems that there is a distance that goes way beyond the photo, as if we are able to walk right into it. To photographers, this is known as adding “depth” to the picture. Do note that this photo also plays with light and shadows, and displays a stark contrast of dilapidation against modernity.

We can often see this technique being employed on singer’s/band’s albums where the singers/artistes are often seen standing, sitting, squatting against the side of a wall, alternating between the left and right, between the foreground, “middle ground” and background. Thus, this photo-taking technique breaks the image into 3 planes of reference: in front, middle and at the back, this placing more emphasis on the distance.

Exercise 1 (Silhouettes): All right, now is the time for some practice. Try to capture objects of your interest in shadows with bright backdrops. Experiment with the effects and see what happens. Which is the best angle? Why? Can you achieve the same effect with another shot using the technique that you have identified earlier? Now, try capturing the silhouettes of people. What happen? Does it work? What do the outlines of the people tell you?

Exercise 2 (Observing cinematography in movies): Now, I will like you to watch movies. And when you watch movies the next time, observe the cinematography, which is defined as “the art or technique of movie photography, including both the shooting and development of the film” by theFreeDictionary.com While most of us have the tendency to draw a line between video and photography, this is a wrong thing to do. Photography is merely a stilled image of a video, yes? I believe this is how movie stills which are often used for publicity are created.

So, watch more movies and observe – not the entire but specific scenes – which you may find memorable. Watch these specific scenes repetitively. What makes them memorable to you? Movie posters are also a good source of inspiration for photography, although most of them have been edited. You can click here for some examples of movie posters. Click on this movie poster here.

Exercise 3 (Placing object(s) in the foreground): Try practising taking images while placing objects in the foreground. You can even try snapping pictures through hollow containers and behind tree trunks. Experiment with the angles and determine how much space within a single frame that you want the object in the foreground to take.  Try taking various images and have fun! Examine the photos afterwards and see if pictures interest you more. It will be good to ask yourself why this is so.

Exercise 4 (Tunnel Concept): Try to capture pictures within a confined space on the left and right frame (with the top covered as well, preferably). You can also experiment with light and shadow here. Maybe the tunnel in the middle of the frame is dark while the outside is bright, like this (Giuseppe Pasquali’s “Crossing the Bridge (Venice – Ponte della Paglia)”) and this (Giuseppe Pasquali’s “(Nuovo) Cinema Paradiso – San Pietro”). 

Exercise 5 (Interior Structures): Practice taking photos of the interior of architectural structures. It is often dark inside and bright outside. What angle and images can you capture that will create an impact on your viewers. Are you able to send a message to your viewers with just one photo while evoking their emotions? If you are able to master this, you will have already mastered the art of photojournalism.

Some photography Tips:

• Always charge your batteries the day before the photo shoot
• Always format your CF card/ Memory stick etc before every photo shoot
• Always keep your camera in a dry and safe place. Moisture kills the lenses.
• Do not try to determine your shots when snapping photos. Prioritise your gut feel over any form of technical precision. It often happens that our best shots are usually taken candidly, although extreme care in technicalities does result in some great shots as well
• Always take photos with no pressure (such as time constraints etc). Just take the full day and enjoy the shoot. You can cultivate a habit of taking a photo per hour, per day etc. This will help you to improve your photography skills
• Learn image editing skills (in Photoshop etc). Even great photographers makes some mistakes at times, and technology – in this case- is every digital photographer’s saving grace

Hi Students,

This is a self-enrichment article on photography. As I believe that all of you have a fundamental knowledge of photography, I will choose to bypass the basics and proceed straight to the analysis of photos.  I will primarily be focusing on portraiture photography.

In addition, although the technicalities of photography are deemed to be crucial to most professional photographers, I will like to prioritise the factor of composition (Please click here for a brief introduction to composition) over the rest (such as ISO speed, aperture settings, shutter speed etc) for two primary reasons, the first of which is the fact that you will probably be bored and dozing off by the time I am done with all the technicalities.

The other reason lies in the aspect of your roles and responsibilities. Being a writer, you are responsible for your reader’s understanding of the articles that you are writing. As such, the element of composition is crucial to achieving this objective. All other elements and technicalities are secondary.  In fact, in a real-life scenario, photographers – especially news photographers – usually do not have sufficient time to control and/or adjust the technical aspects of their camera since they are often caught in the heat of the action. What’s left is often merely the art of placing all essential elements in the photo in a manner comprehensible to their readers (i.e. composition). And this is often a split-second decision. You will probably face the same scenario in most instances, such as taking photos of singers on stage where every moment counts.

However, I am not sidelining the technicalities of photography but merely putting them aside for now. Should you have any enquiries in these areas, do feel free to email me about it.

Now, let’s get back to the analysis of photos with emphasis on the composition and in a way, the photographers’ storytelling skills. I will like to begin the analysis of photos with two photos, as follows:

• Dorothea Lange’s “Migrant Mother” (Please click here for the image): This image probably evokes nurturing feelings in us. Society has often regarded males as the protector and provider of the family. However, this photograph has only included a mature lady and two children huddled close to her, thus leaving the possibility of the existence of a husband (or a family provider) open to interpretation. Viewers are only left with the individuals in the photos to work out their interpretations. From the clothing of the individuals in the photo, they seem to be impoverished. The wrinkled and dry skin on the mature lady’s face seems to reinforce this. Both the children have turned their faces away from the camera, thus the viewers are almost compelled to focus their attention on the lady’s facial expression, which speaks of desperation and of loss.  From a metaphorical perspective, the fact that the children are facing away from the lady seems to imply their reliance on her and the fact that she is looking ahead reflects her determination and acceptance of life. 

As the readers’ eyes scan the photo, their eyes will probably fall on a sleeping infant on her lap. So, there are three children and not two! Feelings of empathy will probably increase at this point.  It’s interesting that as photographers, we are able to spring some surprises on our viewers as well. As to the ways that you are able to achieve this, it’s up to your creativity.

• Giuseppe Pasquali’s “2 singles 3 couples” (Click on the photo here):  This photo is beautiful because it uses the concept of symmetry. What’s even more beautiful about this photo is the use of not one but various layers of symmetry.  Notice how the singles and couples are seated on benches that are nicely aligned with the curve of the road. Note also the converging pattern between the curve of the road with the downward-inclined line on the wall in the photo. From a metaphorical perspective, one can interpret the two lines as the coupling of singles towards marriage. Note also the use of shadows in the photos, which also form a nice symmetry along the curve of the road. The man in the foreground along with the lady on the second bench from the left completes the picture with a touch of singlehood.  Together with the few couples that line the side of the road, the image speaks of romanticism and lifelong relationships.

For practice:

Exercise 1 (Identifying elements of interest): Try to practice taking photos and selecting those that you find appealing personally and analyse them in details. Ask yourself why do you find them so memorable and show these photos to your friends. Do they share the same sentiments?  If most of your friends like the photos as much as you do, ask them to identify the elements that make them attractive and memorable.  Do your friends share the same reasons for liking the photos as yourself? If so, you have hit on something. Save the photo and tagged a note to it with your comments on the reasons for the photo’s memorability. Use it for reference when you next embark on a trip to snap some pictures.

Exercise 2 (Observing body language of subject(s)): Now, emotions and body language are never mutually exclusive, which means that they go often go together. If a person is happy, he or she will not slouch. If a person is angry, his or her body will be not be relaxed but tense. Thus, when trying to capture the emotions of someone, we should observe their body language.  Try to increase your observation power when you next walk along the streets. Look at the people around. What are they doing? Are you able to assess their actions and what are their states of mind as they go about their lives? A strong observation power is a quality that all if not most great photographers have. And it will be good to hone this skill over time.

Exercise 3 (Anticipation):  Anticipation is another quality possessed by most photographers. This is especially so when capturing images of human portraits or even group photos. Why do we need to anticipate when capturing portraits or group photos? Because we want to capture emotions. And we want genuine emotions. Have you noticed how someone – especially those whom we do not know well- whom we want to take a shot become stern or act unnaturally when they realised that someone is taking their photos in a public event (assuming that you are an event photographer)? There are many reasons for this such as shyness or introversion or merely the fact that they feel that they are not photogenic. But let’s not digress. What we want in a portraiture photo is the person “in the moment”. That is, when they are laughing, they are really laughing. When they are deep in contemplation, they are really thinking about something. This is what makes portraits of individuals or group so powerful and memorable. Thus we need to anticipate. If a group of participants are waiting for the results in a contest and when you know that this group will be among the winners, focus your camera on them and get ready. Once they have realised that they have won, they will most probably jump with joy. This is the moment that you should capture. If you were to look at the winning entries of photojournalists, you would have realised that most of these winning entries have captured “in the moment” shots of such people or groups, usually set in historic moments. In your photo-taking journey, try to anticipate moments of people and then capture these images. If done successfully, these will be among the most beautiful images you will ever capture. Try it and see.

I understand that this is a lot of hard work but as in most things in life, success in photography comes only with constant practice and self-reflections. Now, here is something interesting: we share the same basic emotions, which is happiness, sadness, anger, frustration, joy etc. Now photos are usually a good medium to use when it comes to expressing emotions (just have a look at how global photojournalists achieve this with great effect with their photos). We can thus express our emotions through photographs and enable our viewers to see the world through our eyes. Try it and see.

Exercise 4 (Understanding details in photographs):   I will like you to take pictures with more details than what you perceive your viewers will be able to capture when they take their first look at your photos. In another words, I will like you to capture images with vivid details, such that your viewers will feel compelled to look at the image more out of necessity than by choice. It can be a photo of parents and kids playing at a carnival or merely a “densely populated” image. Try to practise taking photos that makes the viewers’ eyes linger a moment longer than expected on a photo thorough a composite shot. This will prove useful to you when you capture images during a festival where there are groups of people celebrating. This is more challenging than it sounds, so do practise often.

Exercises 5 (Use of proxemics): Now, I will like you to take some photos but instead of clamming everything together, try to select your subjects of interest that are placed far from one another. Experiment with angles and distances. Take numerous shots of your subjects of interest and see which image is the best. It will be good to note that when it comes to photography, distance is your friend. How you determine the distance depends entirely on what you want to portray in your photo.

Exercise 6: (Colour versus Black and white):  Why is it that some photographers have often chosen to display their photos in black and white? What is the distinctive feature that black and white photos have that colour photos lack?  I will like you to take some photos in black and white as well as colour. Capture the same shots so that you are able to do a comparison. What’s so special with black and white photos and under what circumstances should they be used? I will leave it to you to find out the answers but here are some clues:  observe the use of light and shadows.

Photography is an art and will always remain as an art. The only way to improve is through constant practice.

Have fun!

Dear students,

Singapore is hosting the first Singapore International Photo Festival (SIPF), which might be of interest to you, especially for those of you who have intense interest in photography. It will subsequently be held once every two years.

The official website is as follows:

 Singapore International Photo Festival

Some details of the event that you might like to know:

• The event is from 8th October 2008 to 31st October 2008.
• The event is first of its kind in Southeast Asia.
• Its objective is to showcase the works of Southeast Asian artists alongside those of international artists at various venues in Singapore.
• The 3 main festival components are the official exhibitions, workshops and a 2-day portfolio preview session for 50 selected Southeast Asian photographers. This will be followed by a series of workshops facilitated by curators and senior photographers for 40 participants.
• You can get a copy of the festival guide by clicking here.

Out of all the talents, the Creatives are the most misunderstood.

Highly individualistic by nature, the Creatives take pride in all of their works. While there may be some Creatives who appreciate the contributions of others, most of them do not. They take great delight in creating something out of their own efforts and they often create something for aesthetical value and not for practical usage.

The last point is what makes the Creatives unsuitable in most corporate workplaces, where practicality and profits often take precedence over aesthetical beauty. Conflicts and disagreement often result between management and the Creatives since there’s apparently a conflict of interest between the two: the management wants to make a profit with a practical product while the Creatives often opt for aesthetics.

Another factor that makes the Creative averse to working in the corporate workplace is the fact that most of them hate the rules and bureaucratic atmosphere that exist in most work places. The Creatives often wants independence and flexibility to do what they want to do, which means that they want some quiet time to think things through. And they have a strong dislike for deadlines. Unfortunately, deadlines are prevalent in most work places and the numerous meetings often frustrate the Creatives. This may explain why the Creatives are often found in certain professions, which includes fashion design, advertising and any form of performing arts (dance, musicals etc) where freedom and flexibility is often given and even encouraged.

It’s interesting to note that there exists a group of Creatives who are able to blend their creative talents with the practical demands of companies. This gives them an edge when it comes to certain industries such as the design industry, the IT industry etc. An ability to use their creative talents to increase the profitability of a company may be one of the few ways for Creatives to assimilate into the company. Nevertheless, most Creatives will never allow their creative talents to be compromised by bureaucratic demands.  

To most Creatives, being creative is actually a gift. This is because not everyone is one. They feel that they are special in this world and they want to make use of this talent to create something for the good of mankind.  Most of them do not pursue materialistic wants and they are satisfied that the works that they have created have made this world a more beautiful place.

Dear Class,

The media industry- like all other things in life- is constantly changing. And as media professionals in the near future, it will be good for all of you to be adaptable and to be able to cope with changes.

It’s also good to get an experience of working with deadlines as several professions in the media industry  (such as journalists, writers and editors) do require one to work under such conditions. Many media professionals love their job and the reason that they are able to excel in their line of work is primarily because they have the passion to do it and working with deadlines often provides them with an adrenaline rush  to see their valued work come to fruition.

It will be good to realise that media professionals work towards what their target audience wants to see and read, and not what the media professionals themselves want. Understanding this perspective is crucial to the success of media organisations and subsequently, the media professionals themselves. 

Below are some of my thoughts on the areas that that all of you are able to develop:

-          Writing Style: Develop a strong curiosity of what is happening around you. Develop a strong thirst for knowledge. Identify the trends in the media industry. What do media consumers want? During your leisure time, keep a personal journal and pen your thoughts frequently. This practice is similar to what you have been doing for your reflection journal. This will help you improve your writing style. So, do develop a writing style of your own. Most successful writers have a distinct writing style. You can be one of them.

-          Photography / Page Design and Layout: Browse through all types of magazines and mentally “digest” the images on the various pages.   Observe the various angles that images are captured. Do you see a pattern? What are the common types of photographs? Subsequently, take your own pictures and develop your own style.  You can also cut out photographs from your used magazines. Gather the photographs together and base on a theme of your preference (such as “Courage”), selectively choose the photographs of the same thematic element by putting them together and separating them into sets. Now move one set of photographs to a piece of A4-sized paper and move the photographs around on the piece of paper.   Practice moving them in different directions and at different angles. Try stacking one part of a photograph on another. Tile them at different angles. Which of these arrangements have a stronger visual feel/appeal? Why? Doing all this will enable you to seek out common patterns in images, familiarise you with the art of photography as well as improving your foundations for page design and layout. It’s interesting to note that a single, well-selected photograph is impactful. However, having several photographs of the same thematic elements  arranged in  an appropriate and creative way adds a lot more punch to the message that you want to convey to your viewers/readers.  

For page design and layout, there are 6 primary factors that you need to take into considerations:

-        Emphasis   (e.g. placing a dark image on a white background etc)

-        Contrast   (e.g. using strong colours of different contrast to draw the viewer’s attention)

-        Balancing (e.g. Ensuring that the elements on the page are all balanced. That is, there should not be a situation where there is five images on the left side of a page while the right side is blank)

-         Alignment: (This has more to do with text than images, such as aligning the text left, centre or right)

-         Repetition: (Repeating visuals elements such as lines, font type, font size etc. has the ability to enable the readers to retain the information that they have read or seen)

-         Balancing:  (Such as the rational way of aligning the photographs from left to right)

A great visual layout and design usually fulfils all the abovementioned 6 factors. Do also build up your knowledge of typography. Changing the font types can also change the impact of the message. 

As mentioned in my previous post, I feel that the key emphasis as a photographer is in composition. However, no matter how good or efficient a photographer is, he or she will never get a perfect shot every time. Usually, there are more than one subject in focus, which is not encouraged. This is where mastering the art of cropping is essential.  In fact, this can be considered to be the most important function that a photographer should learn and master since it affects composition directly.

Consider this photo:

This image is captured very well. However, if you look at the photo carefully, there are two primary subjects of interest. And most photographers will usually opt for one. If not , the viewers will be confused as to what the photographer wish to tell his or her viewers. In this case, is the subject of interest the parallel pillars/long walkway on the left or or the train on the right? One of the most common mistakes that photographers make is in making viewers decide where to look. More often than not, the photographer should decide for the viewers (unless it’s a scenic shot whereby the viewers are invited to appreciate every aspect of the image).

In this instance, I personally feel that this photo should look best in a “portrait” rather than “landscape” format because of the parallel structure to its left. In addtion, the parallel pillars/long walkway should be a better subject of interest (there’s no wrong or right answers. Everything is based on one’s aesthetics preferences) as the part of the train to the right of the photo looks dull, despite the colour red which is usually striking. Therefore, I will choose to crop the image of the train on the right, leaving the image in a “portrait” format like this:

Now, we will have an image with one primary subject of focus.

As mentioned previously, there are no right or wrong answers. Cropping is merely the effort of the photographers to align what the viewers see with what they see.

Dear class, 

During one of our class discussions, some of you have brought up the concept of “Show, do not tell” when it comes to the reports by the media. I figure most of us will interpret this as a neutral, factual reporting of the media and not making any aspects of the report subjective.

Along the same vein, the concept of “Show, do not tell” can also be applied in the field of photography. Photographs often have a strong presence even in the absence of captions. They have the ability to evoke emotions while allowing every one of us to interpret the pictures independently of one another. This might be a bit constraining when it comes to the field of photojournalism (since the pictures are taken primarily to describe an event or a happening), but there’s still space left open for interpretation in this aspect as well. Once again – as mentioned in my previous post – composition is important since this is the most crucial factor when it comes to enabling the viewers to interpret the message of the photograph.

In a world where we are constantly being bombarded by noise, photography grants us that silence that enables us to have peace of mind. However, some advertisers are beginning to use photography as a form of visual attraction to engage our attention (when often we do not wish to). What begins as a form of art has now been turned into a device for consumerism, which is a very regretful development.

Nevertheless, it’s undeniable that the concept of “Show, do not tell” applies well when it comes to photography. If not, advertisers will not maximise the usage of such concept in recent years. Indeed, they are beginning to realise that a picture indeed speaks a thousand words.      

Photographs are most impactful when left alone. It is unbelievable how much we like to add information to photographs, Editors place captions below them, photojournalists adds an article alongside them and image editors edit them often to enhance the photo’s visual appeal.  It’s understandable that all of this is done to align the photographs to the reports that the media wish to make. However, at the same time, the impact of the photo is reduced since adding information in such ways reduces the number of possibilities of interpretations open to the viewers.

Hence, “Show, do not tell” should be the motto of every photographer.

Such is the essence of photography.

Photography is an interesting artistic endeavour.

And I am not referring to candid shots that most of us usually capture with cameras.  I am referring to images that are captured to transmit a message (such as those that are used in photojournalism) or to evoke an emotion (such as the image above).  Photography is indeed an interesting field that we can engage in.

Being an avid portraiture, landscape and nature photographer, I find it a joy to look at a picture and admire the significance of the image.  Besides being a photographer, I am also a writer who takes pride in my writing. However – through personal experiences - I find that words pale in comparison when we place them beside an image. This is because pictures have a way of evoking emotions that words alone are not powerful enough to express.  When it comes to understanding an image, it needs no words. Usually, it takes just a glance to understand the message that the image seeks to express.

While most photographers may emphasise the technical aspects of photography such as the depth of field, ISO setting, aperture adjustments and shutter speed, I feel that the most important component lies with composition (the way that the elements in an image are arranged together to create an impactful message). If one does not master the technique of composition, the rest of the technical aspects of photography do not matter as the photo has already lost its significance.

The photo above illustrates this point perfectly. This image is captured during one of the early evenings. I have deliberately avoided making any technical adjustments to my camera when I capture this image. However, I have taken measures to ensure that the composition is just right. The message that I want this photo to relay is the comparison between meagre man-made structures (i.e. buildings) and the expansive universe (signifying the cosmos). I have deliberately minimised the view of the HDB flats while enhancing the vastness of the sky.  I believe that the message is transmitted to the viewer in a single glance.

Creating powerful and insightful images has always been the dreams of many photographers, and the limitless possibilities are what make photography such endless enjoyment. And with the advancement of digital technology (where images are captured at no cost as compared to traditional films), photography has become possible for all of us. Be it humans, nature or landscapes, mastering composition will turn any of these images into a masterpiece.

So, do pick up a camera and capture some images. Who knows, photography might become an interest that you might like to pursue.

 For a lifetime.