Got the Picture?

           At dinner with friends recently, I was asked how I know when I’ve gotten the definitive picture from a situation; when to stop shooting and move on.

           Photography is a creative form, and, like in other art and craft areas, a piece of work can be ruined by overworking it to destruction. With painting, for instance, the apparent simplicity of some of Picasso's 'blue period' work was thanks to his conscious or subconscious decision to stop at a certain point; any further work would have ruined the painting. He knew just when he had 'got the picture.’

           Fortunately for we photographers, we have it easier in a sense, since all we do if we go beyond the point of the definitive frame, is waste film and time. However, both of the latter can be detrimental to the next filming opportunity, if we don’t have enough time to get to the next situation and no film to use either, a photographer's worst nightmare.

THE PRECISE MOMENT

           Defining in your own mind when you have captured the decisive moment, and when to decide to move on, is very important. This goes back to a crucial factor in all creative forms, knowing what story you want to tell to start with. So, clearly define in your mind the story you are after, before you get into a shooting situation, if possible. Then go all out for that, and if something better on the scene offers itself, go for that as well. Never be afraid to ditch your first idea if a better one comes along, or change your mind according to circumstance. Reluctance to do so will limit your chances of success.

           Returning to how I know when I've 'got the picture,’ the answer is, I keep shooting until a gut feeling tells me I've got the shot and can't get any one better. Then, when I'm sure the story is in the camera, it frees me up to go for possibly more creative angles which might or might not work. I can be riskier and more experimental in my approach.

           This applies to all forms of photography. But with a studio portrait situation, it's easy enough with a difficult sitter to make them smile, laugh, cry or whatever is required from the session. But with travel, in a crowded marketplace for instance, things only occur in a given time frame in conditions beyond your control.

           When a vendor and a buyer agree on a price and money changes hands, is a good example. There is only one chance, so timing is vital; it is the key shot to tell the story with. Miss it and you have to wait for the next person or until the next sale is made.

           So keep on shooting. You'll make lots of mistakes and learn from them, but the gut feeling of knowing when you've 'got the picture' will begin to grow more as you gain vital confidence, another important factor on the road to success.