Post by Nick Fleming
Many years ago I met a well known English artist while I was travelling through Northern India. We happened to be staying at the same hotel, one of those rather agreeable converted palaces. Each day he went out with his water colours, easel, portable chair and sizable sketch books, as he used to say, ‘to seek inspiration and watch the world go by.’
One late afternoon I saw him, brush in hand, stooped over his easel and decided to see how he was getting on. He was well on his way to finishing his scene but as I looked from his picture to the view, and back again, I instantly noticed how different they were. What he had done was to omit a lot of detail and add some of his own. He explained to me that he rarely painted exactly what was in front of him. ‘I go for simplicity, he said. ‘ I paint what I think my picture needs, what makes it work, not necessarily what I see.’ ‘It is of course a representation, I am distilling the scene but I like to fill it with interest.’
This, coming as it did when I was just starting out in my photographic career, was a revelation to me. I suddenly realized after that brief conversation that I, as a photographer, could work in exactly the same way. I began to view my own scenes with the critical eye of a painter. Of course it takes a combination of persistence, patience, timing and luck but in the process I taught myself to slow down. I took time to observe things, to wait for subjects to move in and out of the frame and I started to compose my pictures deliberately and consciously. I took on projects that required me to learn about the lifestyle of my subjects, to get close to them, understand them and wider angle lenses became my photographic mainstay.
Read more at: http://www.digital-photography-school.com/learn-to-think-and-compose-like-a-painter
