The Zen of Photography

Acolytes to the way of the photo are often in jaw-dropping awe of the pictures they see reproduced in photo mags, posters, calendars and what not. Disappointment, however, still stalks their own creative efforts. Sometimes the realization that the pros also take terrible shots can be an epiphany. What the neophyte fails to recognize is that those mediocre renderings are often part of a larger deductive process that the experienced photographer can use to move towards photos of consequence. This article examines the process a photographer follows to bring it all home and compares the results to the standard tourist output.

No Wabi; No Sabi…

Noboru Hirai Photo.

This shot of the Dai Butsu or Big Buddha in Kamakura, Japan pretty much has it all. The photo is badly framed and badly exposed and the horizon line is way off kilter. The garish colour of the background forest further detracts from the overall composition. Shadows across Buddha’s face, the shaky shakes and distracting foreground elements yield unforgivable karma, virtually guaranteeing that the folks back home will snooze through the next slide show. Though fairly typical photographic output of the uninitiated traveller, this is where most of us, pro and pupil alike, begin our journey too.

In Comes the Pro…

Nikon F 1/250 with Nikkor 135 mm at f8. Kodachrome 64.

No redemption here. The experienced photographer hasn’t done much better. The horizon line is more even, but not perfect. The background colour has improved but still looks like yesterday’s tofu surprise. The Distracting Elements have largely been eliminated but the Bad Shadows are still there. Whoever positioned the Dai Butsu here in 1252 AD obviously had never heard of photography.

Playing Lowball…

Nikon F 1/125 with Nikkor 28 mm at f11. Kodachrome 64.

A low angle and symmetrical composition go a long way towards overcoming some of the photographer’s challenges. The annoying forest and most foreground distractions have been eliminated. Even the shadows look less disconcerting from way down here. Yet, somehow, this photo just doesn’t get it. Perhaps a prayer and an offering are in order. Start chanting that mantra: “Move in. Move in. Move in….”

Zoom In…

Nikon F 1/250 with Nikkor 135 mm at f8. Kodachrome 64.

Persistence begins to pay off. The Old Hand’s trick of zooming in on detail works to a degree. Those nasty Bad Shadows are back, however, leaving Buddha in the dark again. Most other problems have been eliminated by this approach lending the photo a certain degree of impact. Content remains a little obvious, however, and framing could easily have been more thoughtful.

The Part is Greater Than the Whole…

Nikon F 1/250 with Nikkor 135 mm at f8. Kodachrome 64.

This time, zooming in works. Buddha’s essence is captured on film. A dynamic composition taking full advantage of the light of high noon results in a superior photograph. Deep shadows delineate the folds and creases of Buddha’s very soul. At once Buddha’s power and poise are integrated into one sublime shot. Contemplate that navel!

Moving On…

Nikon F 1/60 with Nikkor 28 mm at f11. Kodachrome 64.

Still, satisfaction eludes the master and he continues the quest, looking to heaven for inspiration. An interesting composition reveals itself as he moves around the statue. The placement of the sun, the detail on the face is thrilling. The detail along the side looks positively industrial, however.

Going Vertical…

Nikon F 1/125 with Nikkor 28 mm at f11.Kodachrome 64.

Flip the camera and stop down but problems persist. Buddha’s sexy leg has all but disappeared. We have taken the wrong path to enlightenment. Yet, something has revealed itself in the shadows…. Is this not the way, after all? Mystic darkness leads to light.

Nirvana…

Nikon F 1/125 with Nikkor 28 mm at f22. Kodachrome 64.

“Oohm!” Say it three times and dance a jig. By reducing the exposure setting a washed out sky becomes blue again and the sun becomes the jewel in Buddha’s crown. Ephemeral wisps float beyond even Buddha’s grasp. Facial detail has almost disappeared but a hint remains, offset by detail in the leg. Elimination of the visual noise from Buddha’s side and back results in a profoundly dynamic element — a glimpse of the void — in basic black.

Now, Snatch the Pebble from My Hand, Grasshopper…

Well, that ought to keep the folks back home awake. Through a process of simple deduction and honest self-criticism the experienced photographer has distilled Buddha’s essence into two winning shots. Most pros would agree, two out of seven ain’t bad. The real trick, of course, is to resist the temptation to snap the shutter at all on mediocre images, holding back for that Zen moment.

Though the tourist and the professional started with fairly similar approaches, the photographer embarked on a journey, meditating on his subject, approaching it, studying it, searching it, circling it, understanding it until, when truth unfolded, he was there with open mind and open shutter to capture the giant bronze Buddha’s ancient mystery. And then, in a fleeting instant, all was gone; the teeming crowds of tourists had returned.

Unless otherwise noted, all photographs were taken by Brian Grover. To browse more images visit my photo gallery here: Brian Grover Photography.

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