quote:Originally posted by zeljkok
I am not advocating one way or the other, as both can produce amazing results. Just think it is great topic to discuss.
The struggle of every photographer is to try and capture not what they have seen, but what they have felt.
Like this picture for example, we had been moving for nearly 9 hours to get to this point, and we weren't even half way done. The feeling of putting one foot in front of the other was present in my mind, and the sheer scale of the mountain we were trying to ascend had become clear.
I slowed and eventually stopped and waited for one of my hiking partners to get further away. Allowing him to become lilliputian accentuated the scale, and by focusing on the deep footprints in the snow I hoped to represent the struggle of forward progress.
In PP I decided upon stark chiaroscuro to make the landscape appear as ominous as it did that day and to hopefully imbue the viewer with the same sense of isolation that I was feeling.
In contrast, in this picture I felt really exposed, and likely put myself in a pretty precarious position. I was on a steep downhill slope of wind compacted volcanic sand that terminated in cliff bands below me. I had kicked out a little ledge, that kept disintegrating as I moved and shuffled around with my bag as I changed lenses. A strong katabatic wind was blowing from the large glaciers to my left. To my right were large spires of volcanic rock and in front of me was an expansive panorama. I tried to capture the exposure I felt and the scale of the scene around me but I feel that all of my captures fall short.
I remember watching a video recently by Camp4 Collective that kind of explains this obsession to capture a moment that visually has the ability to represent an intangible emotion.
They called it FOMAS or Fear Of Missing a Shot. Usually, that fear outweighs the, sometimes, rational fear that would otherwise stop me from putting myself in a dangerous location just for a photograph.