Contemplating Contrast/Gesture/Implication

I was reading an essay by Michael Reichmann at Luminous-Landscape.com entitled "Why What Works." In it, he evaluates why some photographs succeed and some (most?) do not. I won't reinterpret what he has to say here; his essay is well worth reading. But it did get me thinking about contrast, gesture, and implication as they pertain to my own photography. The photographs can be seen in "Beach Scenes" on my website. I took just three examples of each that I think principally illustrate C/G/I although any photograph could (and perhaps should) contain elements of all three. I don't know that these are all that great, but I had fun working through this exercise!

Figures on a Beach

Contrast. Archetypal contrast may be thought of as the difference between light and dark. I go for this look often and find myself usually upping the contrast in post processing. This photo (Figures on a Beach) illustrates this with the dark figures back lit by the sun's reflection off of the water. But there are other elements of contrast as well. Between the sand and the remnants of spent waves. Between the horizon and the sky. Between the shadows of footprints and the lighter sand. The bright silhouetting (rim lighting if you look closely) of the lady in the foreground. Between the ripples in the water and between the very sparkles in the sand. Between the smoothness of the sand in places and the rough shadows of footprints. This photograph is full of contrast! But what I learned in the Reichmann piece is that there are other forms of contrast that do not have to do with luminosity or color or texture, etc. Contrast can result from the juxtaposition of form. That is why I am intrigued with this photograph: the contrast between the man and woman walking away from one another compared to the couple, holding hands, on the left. I see attitude, almost a huffiness, in the two on the right, something obviously different between the two lovers. Contrast.

You're telling me THIS is why I can't parallel park?

Gesture. Reichmann describes gesture as a flow or energy that subjects in the photograph possess. It may be subtle or obvious, or even non-existent. There may be more than one. This photo, "You're telling me THIS is why I can't parallel park?" is an example of the obvious, a human gesture.She is clearly having a conversation with him and I am struck by her reaching out to him, the positions of her fingers (gesture) and the attitude of his posture that says he is clearly not listening (gesture). Certainly there is contrast here, too, that between the couple, their one sided interaction, but interaction nonetheless, the differences in size between the couple and the background figures playing in the water, etc. I thought there was comedy in this, which was amplified by the fact that the man is obviously wearing a Speedo bathing suit. That, coupled with the positioning of her fingers, makes me think of irony. Subtly funny I think. Gesture.

San Jose Sunrise

Implication. What is the photograph about? As my friend, Hal Wallace says, "What was the photographer thinking?" Reichmann talks about what in a photograph compels our interest. To me there are few things more compelling than the rising (or setting) sun. It is FULL of implication, intrinsically. Maybe that is why sunsets are often so interesting and beautiful, sometimes with colors so ineffable they could make you weep. This is part of what I intended with "San Jose Sunrise" at right. Anticipation, color, contrast, intensity all bespeak the possibility impregnated within a new day. Not every person will see the same implication in a given image, if they see anything at all. Why do I do this? Because I want to. Just that. No other reason. I also like the wave photograph in the gallery. Strong lines, power, subtle contrasts, POISED to crash and dissipate. Kinda like life! Implication.

Enough contemplation! Enjoy the photographs in the rest of the gallery. If you feel like commenting, please do. I think there are elements of contrast, gesture, and implication in each image and I'd be curious if you agree. Finally, I am reading "The Photographer's Eye" by Michael Freeman. Mostly about photographic composition, seeing and organizing, with some great design tips including discussion about how an image interacts with its frame. Good read and interesting, but kinda written for the fine arts major. Still, I am learning new things!