Thank you for joining me
Again
I hope it’s not been
Too long
Since we last spoke
And enjoyed one anothers company
You see
I have other things to do besides
Like converse with the Gods
And fight those
Nasty Galactic aliens
That live in wonderful lands
So far,
Far away
Up nigh - There!
Where I point
Can you see?
Perhaps one day
When I have defeated
The aliens
And if the sun
Is still shining
And if it is
A Saturday
I’ll take you with me
Oh yes!
Hold your hand
Along the slipstream
Ride the crests if you may
And if you so wish
And if it so pleases you
You may bring along
Your camera
A box of tricks indeed
Your camera is!
The wonders it can do
Come! Let’s begin to delve
Into its mysteries
And talk about…contrasts
But first we need...
Ah yes!
We need
A definition...
Contrast (noun) : 1. The state of being noticeably different from other elements. 2. The amount of difference between tones in a foto-graf.
Contrasts are everywhere. We barely notice them except when we slow down a little or when we view foto-grafs. The camera is so wonderful because it does our slowing down for us. Life in fast-motion is not amenable to spotting contrasts, but life in slow-motion is. I believe that we can divide all contrasts into the following two groups (these groupings are purely my own and you will not find them in any textbook anywhere on this planet - In fact, if I may be so bold as to say, you will not find any of this, in any text book, anywhere on this planet!)
1. Visual contrasts – where the contrasting effect results from the interplay of light and shadow, the comingling of colours and from the interactions between textures and patterns
2. Subjective contrasts – where the contrasting effect results from interactions between the different elements in the frame
‘Ugh?’ I hear you mumble
‘What is he talking about?!’ I hear you grumble
Don’t worry. Relax. Patience. I will explain all
1. Visual Contrasts
This is an example of visual contrast:
There is a clear visual sense here in the way the crinkly jaundiced autumnal leaves; with their reddish tinge stand out from the bed of grass. It’s a simple image taken from my local park yet there is something about it that steals your gaze and holds it. There are also textures too; the interplay of the veins of the leaves with the smooth blades of grass – the renewal of nature – old and new - rebirth
Another example:
Do you see? Do you see how the bright radiant scene in the foreground with its jumping colours and smiling yellows, lends the background a more foreboding and brooding aspect?
And this:
The affect here is created by the overlapping of the bare bony branches with the red leaves in the background. It's as if the tendrils of winter are sapping the life out of the world. Tell me, do you ever notice the encroaching winter? No, not in the way you feel cold, but do you notice its advance in the trees when you look up?
Another example:
Although the umbrellas in this image are all visually striking, a contrast affect still results because of the presence of clear boundary lines between the umbrellas and the repetition of strong geometric patterns.
But you don’t always need colour to create vivid visual contrasts as the following black and white images clearly demonstrate:
The interplay of shadow and light in the first image has an interesting affect; imparting the sweeper with a ghostly countenance - a sprite haunting the hollow sepulchral tombs. Scenes with widely varying shadow and light regions are classically difficult to capture faithfully with cameras. This is because camera sensors are not as good as the human eye in differentiating extreme gradients of light and dark. The human eye, having evolved over millions of years, is much better at this. I will show you in a later lesson how to deal with scenes of extreme contrasts and how to turn the inferiority of the camera sensor into a creative advantage…
The second image is of ornamental Moghul ‘Jalee’ screens in Fatepur Sikri, India. What do you think makes the image ‘work’? Is it the delicate pattern of the screens interlaced with the extreme light and dark conditions? Yes. The resulting affect is precisely what the designers had in mind 600 years ago.
2. Subjective Contrasts
Remember subjective contrasts are different from visual contrasts because they rely on the manner in which the different elements in the image interact with one another
Let me explain:
The elements in this image are the two men. One has the use of his legs the other not. There is nothing inherently 'special' about either of these elements in separation; but when you put them together in the same image there is contrast. And contrast is everything!
What about this:
The contrast here exists between the care-free happiness of the children and the broken-down ramshackle environment in which they are playing. It is the littlest things that make us happy; play time, a good book or a relaxing read of the newspaper (as the next image demonstrates).
The man looks as happy as you or me. There is comedy here too and contrast.
And here's another:
Where is the contrast? The contrast exists between the well-to-do tourist and the poor man sleeping on the station floor. It is a contrast that grinds, that grates, that makes you feel uncomfortable. A contrast created when people inhabiting the extreme levels of society are brought together in the same image and forced to inhabit the same frame, the same space. It is also powerful social commentary. There is no better way to 'say something' then to spar together contrasts in an image: rich-poor, young-old, fair-unfair, justice-tyranny, black-white, beauty-ugly. A single image can achieve more then many books or thesis' combined
Another example:
The contrast here exists between the man using the mobile phone and the dilapidated transport from which he is making his call. Can you imagine this scene 10 years ago when mobile phones were the latest de-riguer fashion statement? It is a fact of life that some things spread like wildfire, like communications technology, but some things, like old-fashioned rickshaw transports, move much slowly - as slow as the wheels themselves
The image also tells you how the modern and the old interact. The fact that the mobile phone does not (any longer) appear anachronistic in this setting is an indicator of its acceptance into mainstream and lowstream society.
So next time you’re out and about look out for contrasts. Most important of all learn to see with your heart as well as your eyes. What I mean by this sphinx like maxim is that if you can manage to combine strong and clear contrasts with emotion, then your images will be that much more powerful and arresting.
Also bear in mind that none of the techniques so far discussed; use of empty s p a c e s and contrasts, require the use of sophisticated and expensive camera equipment. A simple point and shoot camera will do. The only 'sophisticated' equipment you will need is your eye!
