Sun angle and character of the subject

sunlight from straight overhead shows off the old tree trunk’s texture in great detail

The direction, strength, and color (temperature) of light affects the way viewers see the subject. Seeing this forest hiking trail log on a rainy day, or one mixed with cloud and clear sky would present a much different subject, probably scarcely noticed while walking by. But in the afternoon light of a cloudless sky and the sun positioned almost directly overhead, this old tree trunk stands out from the deep shadow of the surrounding forest floor. Its dramatic look is partly from the contrast of bright light to surrounding shadow, as if a strong spotlight were showing off the rough old surface. But the look also comes from the direction of the dominant light source in relation to lens position.

This photo of the fallen tree weathered by seasons of freezing and thawing, wind and the ravages of various living things, both plant and animal, has strong light from directly overhead. There is no moderating layer of haze or cloud cover: sun on rough wood shows every detail, hiding nothing. Moving the lens to extreme right or left for an oblique view, rather than full-frontal picture, would show the same texture and detail, although the depth of focus would differ to this “flat” view in which the length of the tree trunk lies at more or less equal distance to the plane of focus, thus rendering equal clarity to all parts of the subject.

By contrast, more diffuse light from directly overhead would blanket the illumination more evenly. The texture of pits and high spots would subtly shift rather than to break abruptly from bright light to deep shadow. Even with the same strong, direct light, if instead the photo was front-lit (from behind the lens location) there would be almost no shadow; all would be brightly illuminated like headlights cast onto it. The reverse, with the sun shining toward the camera in a backlit view, would give a halo around the edges, but leave the body of the subject obscured in shadow. Then there is the sidelit look: Pronounced shadows would be elongated, showing off the textures in an exaggerated way. In all these cases, murky light or bright, positioned at the various compass points, the subject is the same; even the framing of the composition could remain the same. But by changing the light on the subject, its character overall and in the closest detail look different. In other words, “seeing in a new light” or “looking with fresh eyes” really does affect the impression that sticks in one’s mind.

The figure of speech, “putting the matter in a new light,” or “shines a light” is true not only in this photographic sense, but in mental vision, too. A person forms a picture in mind by layers of impressions coming 2nd hand from others (hearsay) and from direct experience, too. The look of that impression depends greatly on the light in which the matter is seen. So before coming to a conclusion, pause to look at the lighting: is the subject standing in flattering light? Harsh light? Weak light? Surely, the source and the location of the illumination sources relative to the eye (or mind) of the viewer affects the experience.

Lines, geometry, looking

Along with composition elements such as light-shadow, texture and patterns, color combinations and juxtapositions, human actions and group configurations, these two photos show the importance of line and geometry. In other words, the way that lines define direction and shapes as well as lead the eye, along with the way that overall shapes within the frame are forming a geometric pattern can make a subject stand out and attract the eye of a passing photographer.

James Finley puts the response to visual scenes this way, To contemplate means to observe carefully, to pay close attention. Most of the things that we notice, we notice in passing, on our way to something else; then, every so often, something gives us reason to pause. Something catches our eye or draws our attention, and we’re drawn for a moment to ponder or to reflect on that which awakened us in this way.(1)

One way to gain experience of “noticing” possible photo subjects is to go alone or with others on photowalking outings. There could be a theme to be alert to; or the chosen location itself may be inherently suited to particular subjects (e.g. urban vs. seaside, artificially lit streets vs. twilight vistas). Whether the project is (semi-)structured or completely without boundaries, some days the person carrying some form of camera will find numerous subjects. Other times there may be a dearth of images to be recorded. In fact, it could be that the process of walking and reflecting while one’s mind is open to photography and the local vibe is more valuable than any resulting pictures made that on that occasion. In other words, getting into the habit of wandering with ears and eyes open for possible compositions is a transferrable skill, regardless if it produces valuable visual results or not. Even with no camera at hand, this way of walking in search of pictures, freed from daily routines and preoccupying concerns, sharpens the seeing and focuses the thinking that comes with the creative experience.

Photowalking all alone allows the stopping and starting rhythm and overall duration of the trip, at home or in an unfamiliar location, to suit one’s own interests and limitations. But photowalking with others, with or without some sort of plan or structured parameters, makes it easy to compare and contrast, as well as to make the verbalization of a particular shot turn into a dialogue – not an interior stream of consciousness, but actual words and phrases to interact with others. The result can sometimes be unexpected ideas and reactions sparked by the reflections and reverberations of words by others or from the words one choses when talking to others.

In summary, moving through the day and the world with camera in hand (or in the mind’s eye for taking “mental photographs”) develops certain seeing habits, making one accustomed to pause and look closer, or to stand a few inches left or right, lower or higher to frame the subject just so; or to wait long enough for passing details to fill the frame in a certain way. Contemplating, reflecting, noticing — all these things can come from routinely photowalking or simply from making an effort to keep a camera within easy reach at all times; not just during trips to unfamiliar places, but even when home or doing errands day to day. Seeing begins with noticing: lines, geometry, texture, pattern, light-dark, and so on.

(1) James Finley, Turning to the Mystics: Virtual Retreat, day 2 (Albuquerque, NM: Center for Action and Contemplation, 2022), https://cac.org