Photo eyes or photo ears (Part 2)
Another type of “photographer’s ears” is people reaction to the survey, it means the looks of the models or just strangers pointed at the camera. If a portrait, made in unique form, is a traditional method and doesn’t direct at thinking of a photographer, in genre and street photography the case is somewhat different. Side narration about somebody’s life torn away with their looks in the camera tells not so much about people in the frame as about the fact that he was noticed and it makes viewer think. That’s how a viewer feels his presence and becomes a photographer. Very impressionable viewer may even have a presentiment that he will be punched and deprived of the camera because of the shot.
Unlimited demonstration possibilities of photographer’s ears are provided by landscape photography. There are photographers who take pictures of landscapes without any sign of people presence in order to show the beauty of that natural parts of landscapes where the foot of man has never stepped.
But as a result we get shots for wall calendars, shots full of emptiness and one-time using beauty. Such shots sometimes don’t have potential depth for thinking over and you’ll get bored with them next day, and are an eyesore to you till the rest of month.
Animated scenes are more interesting. The scene can be animated with people or gentle hints on them. But what do you have to do when the are no people and no anthropogenic objects? Would you paint them?
Well, the answer is obvious: you can animate your landscape by adding yourself. First, it’s the photographer’s shadow in the frame. Maybe you remember Ansell Adams’ shadow self-portrait (Self-Portrait, Monument Valley, Utah) taken in 1958.
Secondly, it can be footprints of the author on sand or snow, precisely in the place they aren’t supposed to be. But try not to spoil the composition with them.
“Photographer’s ears” in landscape can be presented with somewhat objects which are in the frame for some unraveled reason. Maple leaf, taken by the author from home, to be put on a wet stone among fir grove for the perfect composition can widen our imagination. And this is “photographer’s ears” way, that make the shots better for thinking over. Isn’t it the very thing that attracts us?
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