In these years, I have come to know that creating a strong image is not about following a harsh creative formula, but is about finding harmony in the difference of light, composition, subject and intention that is both technical precision and emotional relationship Mixes These elements, when considering thoughtfully, can turn a simple view into some excellent. In this article, I will share the criteria I believe that defines a strong image, depending on the insight obtained through the years of testing, error and reflection.
For the longest time as a photographer specializing in architecture, food and drinks, I am relaxing to cure my individual portfolio, because the process of curating is a challenging task, especially when I am my worst critic, consistent I am labeling my images as on all. , Until some time ago, I decided to review thousands of images captured in the last five years to cure a solid portfolio that reflects my technique and style. My purpose was clear: to distille thousands of images in just 15 that best reflects my style in lifestyle and hospitality photography. Although it can be attractive to demonstrate all my good work, I have learned that potential customers rarely have time to throw through everything. Therefore, the final curse must be compact and interact deeply. Especially for someone like me, who is not fluent with words, I prefer to let my images speak powerfully on my own.
During the initial cursoring process, I was able to streamline the completion process by applying a set of strict criteria. Within two hours, I managed to reduce my entire collection of thousands of images to less than 100. However, the final stage of choosing the strongest 15 and refining the layout took me into careful evaluation of more than 16 hours, including sadness that it included removing something. Among the images, I completed the important time. Final selection, which I strictly followed the prescribed criteria, re -confirmed that strong images are not always about the time invested, but about their ability to communicate with clarity and purpose.
For me, it all starts with a simple question yet: Does the image communicate my intended message to the viewer? This question often serves as my main guiding principle, shaping the shot in my brain. This anchors an emotional relationship that distinguishes an excellent picture from a simple snapshot. I believe that getting closer to photography with clear intentions and a solid idea gives the audience the foundation for the audience being deeply attached. While we cannot control how other people explain or feel about our images, the best way to make you something meaningful for yourself – some authentic. If it resonates with us, it examines a box. Hopefully, it will then catch the interest and meditation of others. And if it does not, then at least we are happy in the process of making it.
Moving forward on the technical part, I greatly trust analyzing the remaining criteria, such as the quality of light, the subject’s choice and the structure of an image. While the quality of light is a very straight criteria, the other two require some level of knowledge and experience that comes with years of practice to know what you are seeing.
When assessing the quality of light in an image, I often start by asking myself some important questions. Is the subject burnt in such a way that highlights its best characteristics? Are there directional lights that are creating unwanted shadows that disrupt the balance of composition? These questions help me determine whether the light is working for the image or not.
Keep it in this way: Light is the foundation of photography. Without it, there is no image. But to stand out for an image, it is not just about being light; It is about the light that works in your favor. Even the most simple themes can be converted into panoramic images when illuminated in a way that emphasizes their texture, shape or color. Shadow, while most of the time when we talk about lighting, play an important role in providing spatial and depth signs. In other words, Chhaya helps our three-dimensional world project in two-dimensional photographs. The shadow also enhances the opposite, texture and contrasting, combining the feeling of realism and dysm. in the frame. Without them, images can feel flat and lifeless. This interaction of light and shadow is the backbone of making pictures that are visually attractive and full of life.
When it comes to composition, I seek balance in an image and the amount of stress, which are the major elements that attract the attention of the audience. As I have shared in my previous article, these two elements can create or break an image. Personally, the composition is about making intentional alternatives – excluding the frame from the world’s chaos, deciding what to include, and, even more importantly what to exclude. This conscious exclusion is one that focuses a picture its clarity and focus. Often, I ask myself questions like: What are the subjects separate? What is enough layering to make depth? These ideas help me assess whether the image effectively expresses my message.
The composition, at its core, is a spatial arrangement of elements within the frame and they do those relationships. For example, when two objects appear closer together, our brains spontaneously combine them, forming an inherent relationship. As photographers, we have the power to control this story by adjusting the placements of elements or changing the status of our camera – whether it will physically transfer the subjects or change the perspective of the camera – how the image viewer Reads, by deciding which subjects take priority and how their eyes flow through the frame.
Finally, while when assessing creative technology, there will be endless debate, the last question I will ask myself: do I like the way it looks? Personal preferences and prejudices will always play a role, but if an image seems right to you, it is likely to resonate with others.
Meanwhile, in the context of the subject matter, it is the most challenging element to align with its intentions, in my experience. Unlike light or composition, which can be honored through practicing, understanding and expressing the essence of a subject, is a lifetime pursuit. It not only demands a clear vision, but also has a deep understanding of the subject matter in the story you want to tell. The main question here is, “Do you really understand your subject?” If you do not, your audience will not be prone, because your ability to separate the subject and emphasize depends entirely on this understanding.
Beyond identifying your subject, the real challenge lies in separating it effectively. It can be obtained through light and contrast, color separation, depth of the region, texture, or motion blot. Each method acts to guide the viewer’s eye; However, when excessively used, it can cause the image to fall low without reference or supporting elements.
The ability to identify unexpected subjects that may potentially distract the viewer is equally important as identifying the subject. A fine awareness is required to create a balance between emphasis and distraction, how all elements in the frame interact. Ultimately, your assessment of the subject matter in your image is not only about separating what you want to show – it is also about curating an image that distributes your initial intentions, and, Most importantly, one who resonates with both you and your audience.
