In part 1 of this two-part series, we discussed the importance of establishing a routine that can be followed easily and quickly when you find a subject and make the first images of it. As the routine becomes more automatic, the mind does not have to concentrate so much on the technical aspects of making the image. Instead, as the routine part of capturing images becomes effortless, you can approach the subject more creatively.
Once you have made the first images of a subject, don't turn the camera off and walk away because after first pressing the shutter release you are just beginning the creative process. Great writers rarely publish the first drafts of their novels; they take their initial ideas and refine them by rewriting and reorganizing. The process of taking a great photograph is similar. By working with the subject, considering what you want to get across to your audience, and trying several compositional options, you may find that subsequent images are often better than the first one or two.
Before we continue, let us state the obvious. Some events in nature photography are ephemeral, and in those instances you are lucky to capture one or two images. You may have only a split second of peak action available for the ultimate photograph. For example, a chickadee pauses about 2 seconds at the feeder in front of our blind. Being able to quickly, almost automatically, go through a "routine" helps us make the most of those few available seconds. Once the bird or animal leaves, the opportunity for more pictures is over, at least for that particular subject. Thankfully, some animals are more tolerant of human presence and will stay around for additional pictures!
To continue this discussion, let's assume a wildflower is our subject. Once you have made the first image(s) of the flower, remove your camera from the tripod (professionals use quick release tripod mounts for this reason) and look through the camera's viewfinder to evaluate different viewing angles. Walk a circle around the flower to see how it looks from each direction. A zoom lens is useful at this point because it conveniently shows the subject at different focal lengths. And remember to consider whether different lighting might improve your initial images.
Look at the subject from different heights (i.e., lie on the ground or stand on a rock). When you find a composition that you like, notice where the camera is and how high it is from the ground. Then bring the tripod to the camera, rather than letting the location of the tripod control camera placement. Now that you have positioned your tripod to hold the camera for this composition, use your established routine to explore the possibilities for this new image. The routine allows you to capture images effortlessly without interrupting the creative process.
Continue to search for new views of the subject by varying the distance from the subject and the focal length of the lens. As you search, ask yourself what it is about the subject or its setting that attracted your attention. Ask what you want the person viewing your image to feel. Have you captured this in your images?
As you interact with the subject through your viewfinder, you are connecting with the subject on both a conscious and subconscious level. Deliberately quiet your mind and simply feel the connection you are making. If an idea occurs to you suddenly, go with that idea, explore it, and compose the image with your heart as well as your mind. Often the best images happen at the point where you get the conscious mind out of the way and let your heart guide you.
I have heard that some photographers compose images with an empty camera, clicking the shutter and working the subject before ever loading the film. This unusual process lets them establish that vital connection with the subject first, and when the film is loaded they can make images that interpret the subject in a profound way. (You might want to try this with a subject that can't run away or change quickly!)
Several years ago we attended a photography workshop in Hawaii (led by Rick Cook and Dewitt Jones) where they encouraged a woman new to photography to place her 35mm camera on automatic and to not even think about exposure and other technical considerations. She was encouraged to compose subjects to show how she felt about them, interpreting them on film in her own way. The images she made were fresh, exciting, and revealed her personality. She could always take time to learn the technical aspects, but her view of the world was unique.
Some photographers carry a small digital camera to use for evaluating compositions and exposures and connecting with the subject prior to exposing film. Photographers who switch to digital imaging are finding that digital lends itself to connecting with the subject, since the images can be evaluated immediately, thus aiding the process that leads to the final "best image."
We think you will find that the suggestions we make here work well for scenics, intimate scenes, and macros. The process requires time and cannot be rushed; worrying about deadlines and schedules can stifle a creative flow quickly. A great photograph can take many minutes to create. (Note that we use the word create and not the word take. Quickly pointing the camera, pressing the shutter release, and then walking away is taking a picture, which is quite different than what we are suggesting here.)
By establishing your routine and taking time to connect with your subject, you open the door to your inner creativity. In turn, you should see an overall improvement in your photography. Your images will become an expression of who you are and how you relate to the world around you.
Try some of these ideas, modifying them to fit your own purposes and personality. As you study your images, we hope you will be delighted with the results!