Skip to main content

Between Brain and Camera

staygoL (Leica D-Lux 5)

The question left half unanswered from the first post of the discussion is what we are actually learning in photography.  Previously, we discussed that the ultimate goal is to learn to not believe what we see or see what we believe. For the learning process, I suggested focusing on three aspects. First, the psychological aspect is to cultivate one's empathic thinking so that eventually it will preponderate over dualistic thinking in judging the reality. This will enable a photographer to see new connections in a scene or happening and be better positioned to reflect new insights in the final, unique images. This is where we stopped last time.

In this post, we will discuss the other two aspects.

The second, aesthetic aspect requires the photographer to practise holistic seeing.  A photo should first be thought as a medium more than two dimensional or an aesthetic interplay of with and without light only.  Observation should no longer be made just on the visual level but with all of one's senses geared to interpreting the new connections found, so the wind, the smell and the sounds all become contributory factors to how and what the photographer produces in the final image. That is to say, the physical and psychological factors at play which are keenly felt on the scene should all be given a bearing on the technical bits in constructing the final images. Therefore, why and where an area should be in the light or the shadows are decided not only for want of visual joys.  Likewise, a certain angle and a particular camera movement are employed not simply for reason of composition.  They are invariably choreographed moves to reproduce the conclusive messages arising from the-whole-body-and-mind seeing to cue the aesthetic faculties of the viewers to receive such.

Lastly, for the practical aspect, it is to learn to see beyond the naked eye. How a camera records a scene differs from how our brain receives it in terms of the amount and quality of lights. Simply put, with different settings of white balance, exposure duration or camera movements, a camera can see the same scene in a variety of ways. A case in point is when the other day I let a young lad see through the viewfinder of my camera with the shutter speed dragged, he took a shot and exclaimed, "Why the window looking onto the street with the trees is like a framed painting on the wall in the image I took? It looks much better than what I now see with my bare eyes" Surely, readers know that it was because the longer exposure time allowed plenty of lights to fall on the tree leaves which on the image became much brighter and smoother in light quality than it was the case in reality. The camera looks at a scene very unlike our brain.

The discussion in this series is not to exclude doing photography just for fun, pure aesthetics or commercial purpose and so on. As I wrote in the first post, the answer is given in the context that I need to think up one ultimate reply to the question: What actually are we learning in photography? Curiously, moving further up this learning curve, I become less easy going in fully pressing the shutter release, and stay longer at the same spot to do an image. I will not necessarily end up with better images. But now I am more aware of what I am doing and why I am so doing in constructing an image for the desired effect and message.

Comments

Popular posts from this blog

GXR: External Flash and Viewfinder

We are nearly the end of the GXR field report series.  I wish to talk about the external options for the GXR, namely, the flashgun and the viewfinder.The external flash named, well, GF-1 can do TTL flash on Ricoh cameras with the flash interface as illustrated below, which Ricoh called Type R.  It can also be used on  other Ricoh cameras which have no TTL-flash capability like the GX200.When the TTL-A LED is on after the flash has been mounted and turned on, it is ready to do TTL flash.A few presses on the lower rectangular power level select button will light up the last two LEDs on the far right, activating the manual flash output via adjustment on the GXR.The flashgun can turn upwards up to 90°for doing bounce flash but not sideways.  It can double as a wireless slave flash.  For that matter, it comes with a stand.  I have read through the instruction manual but can't find the clue as to whether in slave mode it will automatically distribute the flash output between the main/ t…

GXR M-mount Field Test: Voigtländer Nokton 35mm F1.2 ASPH II Lens

The M module may better be described as a far-flung cousin to rather than an immediate member of the GXR family. When look closer, you may see that the whole point of the M module is not about a new GXR-system module – fact is, the concept of lens-sensor combination is completely forsaken here. It is more about taking advantage of the wide choice of high quality M mount lenses.

In this post, we will look at the lens on loan to us: the Voigtländer Nokton 35mm F1.2 ASPH II.


Although Leica M-mount lenses are the best choice for optical performance, they are not just everyone’s option pricewise. With a lower price tag and great optical performance, Voigtländer lenses are sensible substitutes. Hong Kong’s sole dealer of Ricoh cameras, Laikok, is also the distributor of Voigtländer lenses (manufactured by Cosina of Japan) in Hong Kong. For information about the Voigtländer lenses available from Laikok, check this out.  You may also check out Cosina’s Voigtländer webpage.


With the Voigtländer …

Eye Contact

(Leica D-lux 5)

The digital era may make it easier to end up with fave shots. Even lousy photos may be turned likable after a few clicks in the post-processing workflow. But if digital advancement or amendments have any bearing on the cultivation of personal style, no photographers will need to discover his or her own photographer’s eye. Undoutedly, this is out of the question. Only with a trained photographer’s eye can we give a thinking gaze and capture an eternal moment, in our unique style. Style is the soul of a great photo.
A few posts have been written in GXG to touch on the topic of photographer’s eye. Instead of finding an answer, which would require academic discussions, the posts are intended to give my general reflections and spark interests in moving towards further exploration of the topic. 
The posts can be viewed after the links:
1) Photographer's Eye: Storytelling
2) Photographer's Eye: Little Show of Observing
3) Photographer's Eye: Sight-Worthy
4) Photograp…