Posts tagged ‘Great British Landscapes magazine’
Inspired by some modest ‘recognition’, I’ve been musing on the way that recognition (of my work) leads directly to inspiration (to make more) and, possibly, to creativity – to ideas for new images.
The old ‘who do we photograph for?’ debate
Of course, this could easily stray off into the much-discussed territory of ‘for whom do we make images?’ My position on that, at this point in time (!) is that I’d make images just for myself, even if no-one else ever saw them; a position which seems to be the default, at least for amateur photographers, and particularly for those who concentrate on landscapes. I freely admit, however, that it’s very pleasing when other people, especially those I’ve never met, like what I’ve produced. Such comments have greater credibility than those from friends and family, with no overlay of the commentator being naturally inclined to be positive. So, to avoid the huge debate around ‘for whom…?’, I’m going to go with ‘for myself and anyone who’s willing to look at them’ for the purposes of this article.
My immediate inspiration
The inspiration for this piece comes from a coincidence. Firstly, Tim Parkin asked me to be interviewed as ‘featured photographer’ in an issue of ‘Great British Landscapes’ magazine (GBL), and that issue has just been published. Secondly, at about the same time, I learnt that one of my favourite images has made it onto the short-list for the Landscape Photographer of the Year 2011 competition (or LPOTY, in case I feel the need to write that again!). For me, as a newcomer to ‘serious’ photography, both those endorsements of my work are very flattering, and I can say with complete certainty that neither was expected.
I don’t want to exaggerate the significance of either instance of recognition; I do realise that many photographs are short-listed for LPOTY, and also that numerous photographers are interviewed. What I’m interested in here, in this article, is the degree to which this twin, external recognition has increased my inspiration to make more images. It’s had a considerably greater effect than I would have predicted, if asked, a couple of weeks ago.
The short-listed image is ‘Zip’, a dawn capture of interlocking spurs which I discussed in my earlier article about the Howgill Fells of Cumbria. That particular image was the original inspiration for what is now a project to make at least twelve shots of this interesting and unusual area. At this point, I have only four ‘keeper’ images, with another three compositions planned and awaiting an opportunity to capture them, and I was losing momentum a little for all sorts of reasons: time of year leading to the ‘wrong’ light; no mist; too much travelling with work; and general lack of time to make what are non-trivial trips to the locations. Now, with that image and another from the Howgill Fells project appearing in GBL, as well as the competition short-list, I suddenly – and it really is sudden – feel thoroughly inspired to do some more planning and get back up to Sedbergh, with its rounded, wall-free fells, to move the project forward.
Does inspiration directly boost creativity?
I can’t fix the mid-summer light, of course, nor the perpetual, featureless, blue skies which we’re ‘enjoying’ when I’m in the country, but that leads to the second element of this recognition-driven inspiration: the simple fact that I now feel [re-]inspired on this project has led to my visualising two further images to add to my list. Neither of them are in any way related to those I’ve made already, other than being of locations in the Howgills, but the sheer fact of the first image from the project being externally recognised seems to have been enough to ignite the creativity which had been somewhat absent for the last few weeks.
Perhaps it’s entirely obvious that recognition – compliments, to use the non-euphemistic term – is inspirational? Expressed at its simplest and most direct – “Hey! That’s good. You should take more” – recognition is naturally something which should, and does, inspire. The more interesting and unexpected revelation, however – to me at least – is the degree of creativity that this type of thing can lead to.
I’m sure this observation could be useful. What I mean by that is that recognition may be actively, even consciously, used as a motivator for inspiration, and hence as a means to enhance creativity. Whatever the reason, prior to writing this, I was busy making notes recording the various ideas I’ve had in the last day for new photographs in the Howgills project – a good result since I had been feeling that I’d somewhat run out of steam and lost enthusiasm for it.
Inspiration may come from repeated comments on a common theme
Lastly, and I think most importantly, one of the explicit reasons why I was interviewed for GBL was the typical ‘look’ of my photographs; they tend to be credible landscape images, but relatively muted and reliant more on shape, texture and form than dramatic, saturated colours. I suspect that the same is true of the selection of ‘Zip’ for the competition short-list. A few people have suggested in the past that I visualise landscapes in a relatively unusual (abnormal?!) way, at least in terms of colour, and this apparent double-confirmation of that idea has made me feel very inspired to show others ‘how I see’, by means of photographs. Whether or not it’s true that my images are atypical is another question, but I intend to work on the basis that it is, and I hope to draw inspiration from that…
As to why we all see things differently: it’s well-established that human vision is a combination of:
- the manner in which our eyes react to light intensity and colour;
- our brain’s interpretation of those visual inputs.
I think that this interpretation is experientially determined to some degree. For example, people who have always lived in alpine areas don’t generally react as positively to snow-covered, dramatic mountains as they do to other types of landscape. I’ve spent a very long time in high mountains, and I love being in such places, but I’m accustomed to them and now find that the barrenness and vivid colours of deserts have more conscious impact on me. Put another way, albeit a little strongly: ‘familiarity breeds contempt’.
It follows, I think, that everyone, to varying degrees, will notice different aspects of a landscape and react differently to its shapes, colours, textures and juxtapositions, depending on what they’re most used to. If we take the above as true, and combine it with my images being, supposedly, atypical, then I’m very much inspired to create more and hence to attempt to show people what I’m seeing when I look at a landscape. With a bit of luck I may inspire someone to see things in a different manner and themselves be inspired…
And the learning point is?
As I said above, it really is a revelation to me how constructive, in terms of creativity, positive feedback of this sort can be. I’ve not entered any competitions before; maybe I should attempt more? Naturally, I can well imagine that the inverse, negative effect on creativity – when an image falls at the first round hurdle – may also occur; but there’s probably no harm in being optimistic – at least I hope not!
Ambitious, certainly, but I’m going to stick with it as an idea until proven otherwise as I’m finding it a great boost to my creativity!
Thanks to Colin Griffiths for pointing out something I neglected to make clear in the above. I’m not remotely talking here about deliberately making images which I expect people to like, irrespective of whether I like them – I’m sure that would stifle creativity more than engender it. I’m simply suggesting that we should take advantage of the creativity inspired by occasions when people happen to indicate that they like some piece of work and that perhaps increasing the opportunity for those occasions to arise is a good idea.
This item was first published in Issue 17 of the on-line magazine ‘Great British Landscapes‘; so, if you read GBL and this looks familiar, it is! I’ve added an addendum, immediately below the last image, covering a couple of points which were raised in the comments over on the magazine.
“anthropomorphism (noun): the attribution of human characteristics or behaviour to an animal, or object”
I keep seeing human behaviours and emotional states in photographic subjects which I know full well are not human and don’t have such characteristics; trees, rocks, clouds, that sort of thing. In other words, I’ve recently been anthropomorphising images wildly. Obviously, I know I’m merely projecting these human characteristics, and I’ll assert my confidence up-front that it’s not just me sliding into early dementia here: Flickr and the like are awash, judging by the comments, with ‘malevolent‘ weather systems, ‘brooding‘ mountains, ‘dancing‘ streams, and generically ‘moody‘ examples of just about everything. Beyond that, people have historically named features and built folklore around them: the countryside is littered with named rocks and trees, and Scottish mountains often translate as body parts. It’s apparent that people like to see their landscapes in terms of human characters, and the starting point of this article is that I’ve come to think that anthropomorphism helps in appreciating images; but does it help in creating them too, or could it?
I’m not talking about animals and birds….
To define the scope of what I’m musing about here: it’s obvious that shots of animals behaving, or appearing to behave, like humans are engaging, eye-catching and have an emotional impact – after all, we can readily project our own emotions onto the subject and thereby feel that we identify and empathise with it, making the image more appealing. As simple examples, think ‘happy dog’ or ‘playful kitten’. Apart from anything else, those projections may well, on some level, be entirely reasonable; the dog may well be happy and the kitten may indeed be feeling playful. But what about landscapes? I’m not taking much risk of argument (I hope!) in asserting that a large rock doesn’t actually feel like a ‘guardian of the cove‘, or whatever! Nonetheless, even for non-sentient objects, does anthropomorphising make landscape images more accessible to the viewer; more alluring? Does an image with which we can create an emotional connection, or whose subject’s motivation we can imagine that we understand, whether consciously or unconsciously, help the image itself, in the sense of making it a better photograph?
Before leaping into whether, and how, this habit we have of seeing things as exhibiting our own characteristics is useful or good, I’d better briefly define the primary rationales for anthropomorphising ‘stuff’. It seems generally held in psychology circles that there are three principal reasons for our doing this:
- Projecting our own behaviour onto things is an attempt to understand them. Essentially, this is a typically child-like habit which we largely grow out of when we realise that the World really doesn’t quite work that way. This is mostly applied to things which actually look human to some degree, often featuring eyes, ears, arms, etc. Think dog and kitten again.
- Seeing things as human in order to provide a connection with them, to develop empathy. Consider people ‘sharing‘ a quiet, contemplative moment with their favourite tree. This is more the realm of literature than visual images, though I’ve certainly seen images in which people are supposedly ‘enjoying sitting with the tree / flowers / rock / stream’; the very words ‘sharing‘ and ‘with‘ imply a connection both ways.
- Attributing motive, intent or emotion to objects as if they were human. This is, I believe, the most interesting in the context of photography, or any other visual art; at least, it’s the one we’re using most obviously when describing images in human terms. Again, think of those ‘angry‘ storms, ‘marching across the landscape’.
So, whilst anthropomorphism is simply attributing human-like characteristics to any non-human objects, I’m writing about landscapes only here. I’m not talking about animal and bird behaviours: I’m considering assigning emotion, intent, motivation, thought and other distinctly human features to various aspects of a landscape image. This does include trees which look like people and mountains with faces, but it applies to weather systems as well: think ‘threatening clouds‘, ‘menacing darkness‘, ‘joyous light‘ and all those other fundamentally human emotions which we project onto landscapes.
What’s the value in seeing trees, rocks and weather as human?
Here’s an image by Tim Parkin where the two trees look very much like legs and feet, standing in the water. I see this mainly as an example of the second type of anthropomorphism, but it has elements of all three if you start imagining the body attached to the legs, and perhaps the purpose it has in being there, even where it might be going, in that I see the legs as being braced, ready to move. I’m convinced that this vision of the subject as having near-human purpose makes me engage more with the image.
“Conveying emotion is key…”
…an oft-quoted, and paraphrased, piece of advice for making effective landscape photographs, and not necessarily one which requires any anthropomorphism whatsoever. It’s perfectly possible to have an emotional response to a scene due to association and memory, but eliciting that sort of reaction in the viewer is, from the perspective of the photographer making the image, pure luck. Whilst I may have an emotional response to a particular view of a particular hill, based on my past association with it, or even to a completely unknown hill which is reminiscent of something, you, as the viewer, may not, so the photographer has no real control over your response.
More interesting, at least in my view and from the standpoint of aiding composition, is the idea that we can use archetypes to deliberately induce an anthropomorphic view of the subject. Those archetypes can be very wide-ranging and depend not only on the subject itself but the way it’s used compositionally. Imagine a large rock on a beach:
- photographed close up on a sunny day, with its bulk dominating the frame and the breaking waves in the background, it might be imagined as an impassive sentinel, casting its gaze out over the sea; keeping watch and confident in its role;
- photographed from above and behind, on a stormy, dark day with waves forming the majority of the scene and the rock shown as small compared to the enormity of the ocean, it could be seen as a beleaguered guardian, apprehensive and about to be overcome by the power of the ocean.
Both those examples, whilst arguably fanciful and exaggerated to make the point, are typical of how we collectively describe features of landscape images. Sometimes it’s subtle and non-specific: ‘moody‘ is rather imprecise, for example. Sometimes it’s very pointed: the image below, by Duncan George, is of an abandoned hide on the Blackwater estuary. Duncan says that it “looks out over lonely salt marsh.” Whether or not I’d have seen this image that way without the caption, I don’t know, though I suspect I would, but, having read the caption, I’m unavoidably thrown into imagining myself standing there, not beside the hide but as the hide, surveying the bleakness of the scene – and yes, feeling lonely! On one level, and ignoring the technical aspects of colour, texture and detail, this is just an old wooden shed on stilts on a rather banal, flat landscape; adding the emotional overlay and identification with the hide’s situation (or predicament!) gives the image a great deal more impact, engendering a sense of isolation and abandonment. To my eyes, that emotional and situational identification with the hut helps the image a great deal.
Another example is the following image, which Bruce Percy has kindly allowed me to use, of Olstind, a mountain on the Lofoten Islands of northern Norway. Bruce describes this mountain, in his ebook on Lofoten, as looking like an old man with a beard, perhaps wrapped in a nice, warm cloak, and talks about how he began to see the mountain as a presence whilst there, one to be engaged with. This anthropomorphic interpretation of the scene illustrates Bruce’s emotional engagement with the composition and with the surrounding landscape, and also conveys more interest in the image to me, as the viewer. It makes my whole experience of studying the photograph more involved and empathetic, both to its creation and to the end result.
Back to naming and labelling then?
In each of the above two examples I drew their anthropomorphic quality from their names or captions initially, though of course I don’t know whether I’d have felt similar emotions had I seen just the images and no accompanying text. It’s obvious that words are not essential, that we as viewers can project human thoughts and emotions onto landscape elements without either being told to do so or told what those projections should be; but perhaps the use of words links the creating artist to the viewer and assists the process of appreciating their art?
Compose with anthropomorphism in mind?
I think visualising and creating compositions with anthropomorphism in mind may be a useful technique in creating the ‘emotional engagement’ so often cited with reference to images of all sorts. And whilst engendering anthropomorphic feelings for the subject in the mind of the viewer is clearly easier with some subjects, and landscape photographs are certainly not amongst that group, it’s undoubtedly possible and potentially a very powerful tool in helping the viewer to engage with the finished image.
Perhaps, however, rather than seeking to deliberately construct an image with the intention of inducing the viewer to attribute emotion to weather, rocks, trees, bodies of water or mountains, it’s most effective to simply allow oneself to see things that way during composition and hope that the resulting image will produce a similar response in people looking at the finished item, as I know Bruce did with his Olstind photograph? Whichever of those two approaches you take, I have written before about the potential benefits of naming and captioning images and I still think it’s useful. If anything, this idea of using a caption or name is reinforced by the idea that we can pass on the anthropomorphic view we had when capturing the image.
At this point in my development as a photographer, all of this is very much just speculation. I’m not remotely suggesting that every image should, or indeed can, use anthropomorphism, either in itself or via associated titles and captions. What I am putting forward is the idea that doing so may well be, surprisingly often, a means of creating that much sought-after ‘emotional engagement’ between the viewers and the resulting image, and that it can therefore be a useful tool in composing images. Anthropomorphising something can make it seem more understandable and predictable: we ascribe intent or intelligence, even purpose, to the objects in the frame and this helps us in our basic wish to make sense of, and connect emotionally with, an uncertain environment. People’s need to use anthropomorphism to interpret and accept their surroundings is a long-established one, and using that seemingly inherent trait must surely be a useful tool to landscape photographers.
My notes for this piece included whether or not actively treating subjects anthropomorphically is a good or a bad thing, and I’ve failed to think of any way in which it’s bad. So, I’d welcome comments on any of the above, including whether you think this is generally either positive or negative, both from the perspective of the photographer and from that of the viewer.
Oh, and I just remembered that I called by most recent image ‘Talon’, as described in my previous article on being aware of the ‘right kit’ – and at the time I wasn’t even thinking consciously about this subject!
Following a comment over on Great British Landscapes, I’d like to clarify a couple of points.
Firstly, I don’t see using this technique – if such it is – as a way of invariably ‘telling a story’. Yes, it can, and if that’s what you as the photographer are trying to achieve then this may well help with directing the viewer, as may the use of captions and titles. That’s not to say that we should do that for every image though. That leads on to the second point, which is that many images probably don’t lend themselves to any anthropomorphic interpretation, and that’s perfectly reasonable. I’d estimate that fewer than 10% of my images were seen, by me as the photographer, in this way, and I’m happy with that. That’s not to say that people looking at them haven’t interpreted them anthropomorphically of course.
Essentially, what I’m suggesting in this article is that we should recognise the potential for this way of reading an image, and consider both whether we want to compose to emphasise this, and whether it’s important that the viewer understand that intent. It may well be the case that, having recognised the anthropomorphic content in a composition, we might seek to eliminate it in order to avoid distraction from our non-anthropomorphic intent when the image is viewed. That last observation, incidentally, falls into the category of ‘why this might be a bad thing’; it may well be that I don’t want viewers to see a human form in a rock!
I’m convinced that people in general have a strong, subconscious tendency to seek to see images in human terms; being aware of this proclivity on the part of both ourselves, as the photographer, and of our viewers, should be something which can help us in producing work which avoids or includes anthropomorphic interpretations, depending on the result we are seeking.
The article I was originally planning to publish today is first appearing in issue 17 of the on-line magazine ‘Great British Landscapes‘. I’ll also post it here in a few days – after all, part of my intent in writing this blog is to record my developing thoughts on photography – but, in the meantime, here’s a link to the magazine article: Anthropomorphism in landscape photography.