I was really quite enthralled by this chapter; The idea being to reject the need to place a subject in the center of the frame and the rejection of the assumption that the subject should be at the center of the frame. The latter is attributed to “photographic folklore” and is actually based on the way the camera design. The book refers to the focusing rectangle using located in the center of the frame. Typically you would aim that focusing rectangle at some part of the subjects face, focus and then take the picture. Interestingly enough I think that modern DSLRs, with their capability to move focus points around the frame, have allowed contemporary photographers to do away with that stereotypical framing. Having said that, I have recently acquired a range finder and found myself framing shots within the center of the frame because I could not technically figure out how to focus lock on the subject face and then reframe the shot. It’s something that I am still trying to perfect so I can fully understand how the tendency to place subjects in the middle of frame came about. Having said that, the reason why I am having trouble moving the frame around while using the rangefinder is because I want to try and make sure that the subject is sharply focused. Imagine my surprise when this chapter then wenton to challenge the concept of portraits where the subject is tack sharp. I find myself really liking the idea of framing people at the edge of the frame. It feels more dynamic, much more compelling compositionally.
I found the Jacob Riss example quite interesting. Although the composition was not deliberate, more an accident since Jacob Riss did not have an optical viewfinder which would have allowed him to compose the image more thoughtfully, the accidental capture of his hand at the edge of the frame results in an image becoming more meaningful especially in light of the subject.
The chapter then went on to discuss Cartier-Bresson’s work and his view of the “decisive moment”; Every street photographer worth his salt knows about the decisive moments and prays for opportunities where they are able to capture that moment.
I really enjoyed reading how Angiers deconstructed one of the most famous images captured by Cartier Bresson “Behind the Gare St Lazare 1932” ; He pointed out elements behind the image that I hadn’t really noticed before. For example, I had not noticed how the poster in the background showed a ballerina jumping and that the motion almost mirrored the motion of the man jumping over the puddle. I found it equally fascinating when Angiers likened the viewer in the background as a witness similar to the photographer himself. Layers within layers that I had not noticed before.
Prior to this chapter, I had read some material on deconstructing images and the importance of being able to interpret images especially in the context of where and how they are used but to be honest it’s not a skill that comes naturally to me or for that matter one that I truly appreciated.
I understand the need for it. I am not sure if I have the ability to do it without help but something about the way Angiers deconstructed this image clicked in my head.
Maybe, it’s because I love documentary photography and in particular street photography. For me, it’s real and visceral. It speaks to me, fascinates me and keeps me engrossed for hours. Maybe that’s why deconstructing these images makes complete sense to me.
Another point that really resonated with me was Angier’s assertion that Cartier-Bresson composed all this street shots. I have been researching various street photography websites and reading some books on it and so far no where have I picked up the fact that street photography can comprise of carefully composed images. I always got the impression that street photography was akin to hunting or quick draw (wild wild west) where you had not only be alert but quick to shoot and capture the moment.
I am not thinking of trying this approach. Instead of walking around trying to document the world as it passes me by, maybe I should find a location or spot, compose the shot and then wait. Much more Cartier Bressan…I think :)