There is a striking peculiarity that makes capture the moment photography so different from any other activity or art. It registers only one short moment from a stream of lifelike actions and records that moment for eternity. Or at least until you decide to remove or destroy the image.
Capturing the Moment
The photographer always has a short photography capturing moment to really press the shutter in order to freeze the image. Then reality is completely different and there are new moments to capture a moment photography. In a new study and instruction book Michael Freeman brings a wealth of tips and examples into the limelight. To focus on special situations and on observing moving scenes and objects.
Every dfsdo-fotografie moment to activate the shutter must be learned and is also based on experience and failures. Thanks to digital photography, failures are no longer so costly. After a brief introduction to the current use of digital take the moment photography.
The enormous amount of visual material and the many professional and amateur photographers. It is important to gain insight into how the most beautiful one moment photography photos are taken.
The book provides appropriate answers to all questions and gives extremely interesting tips, examples and instructions for good observations. This in order to ultimately make the best moments images. In four coherent chapters, all specific points of attention for perfect results are dealt with step-by-step.
The photographer’s point of view also plays a role in the perfect shots, and of course good preparation for still objects or moving objects. A step aside and patience create opportunities for your finest and most beautiful photo experiences.
Capture The Moment Photography
As a photographer you welcome tips on how to capture good photos. However, photography can also stand in the way of experiencing a moment. Especially when you are more concerned with capturing and sharing a moment than with the moment itself.
As a photographer, you are often hired to capture moments of others. That is, of course, the moment to not be too busy with the moment itself, but rather to be busy with capturing best photo moments.
That is of course the moment to not be too busy with the moment itself. But rather to be busy with capture the moment meaning capturing special moments.
A nice contrast is a fragment from the film The Secret Life Of Walter Mitty. Here a photographer lets a beautiful moment pictures moment pass by to just enjoy the moment.
It is good to think about amazing captured photography as a photographer every now and then. Sometimes it is good not only to capture this photography, but also to experience it consciously.
Catch The Moment With Your Heart
Perfect capture photography with heart is much more than a hobby, it is my passion. I’m not a professional, I don’t have to live from it. But what a good feeling I feel behind the camera! I am still slightly insecure and somewhat tense for a shoot, and then let go of it when I start.
Portrait photography in the broadest sense of the just beautiful pictures is where my love lies. I love contact with people and prefer to capture the most precious events in someone’s life. Over the years I have been able to photograph many of these perfect picture moments of happiness.
Looking back I regularly have the shame red on my jaws about so many photography blunders in one shot. Blur of the eyes, granular backgrounds, hopeless compositions or bad adaptations. But the ‘customer’ was happy, even that moment photos.
What makes a photo a good photo in my eyes? The feeling that a photographer has taken beautifully captured moments with his heart. No photo is routine for me, I always want to try to capture that moment of the models in such a way that their feelings are translated into it.
The biggest compliment people can give me as a photographer is to come back to me for a new picture the moment photography shoot. And what compliments I received from one very important family. I was even allowed to come back eight times for happiness and sadness. Because the beauty of photography can catch with your heart.
Fifteen years ago I bought my first camera and with several courses, the instruction booklet in hand. And a lot of trying I have learned to shoot manually. And over the years you see the change, read: ‘improvement’ in moment to moment photography.
Capturing The Moment Photography
This photography development has literally been experienced from very close up by one family. It started nine years ago with the question of whether I wanted to capture moments for their wedding card.
Very honored and extremely uncomfortable, I started working at their home. With the light that was there at the time and the background that was available. When I look back at the photo, I see a radiant couple to be on, a dragon from a photo.
But I was allowed to come back for her first pregnancy shoot. And I also made the birth announcement card of their eldest daughter.
Partly because of the trust I got from this family, I dared to do more shoots. What happiness people radiate during special moments! Beautiful moments pictures of thick bellies, intensely happy couples, a proud author on a back flap, newborn babies.
And ahead of time, there can be anything to complain about in my photos. But what do you make customers happy with a beautiful image of ‘their moment’.
After a while ‘My family’ contacted me again for a new shoot to plan for their son’s birth announcement card. That this took a completely different turn was beyond comprehension. Their son died a few days before the planned delivery.
The agreed shoot for the birth card did not take place. Without a doubt, I offered to take in the moment pictures of their son. A picture was used for a beautiful birth and mourning card. And the other images capture the memories for these people.
After having photographed two more beautiful daughters with their birth announcement cards and several family shoots of ‘my family’. I can say with certainty that I am abandoning my insecurity more and more. The nerves are more and more in control.
Capture It With Your Heart
How to capture beautiful photos with your heart is about so much more than making a technically correct image. It is about capturing a special moment and capturing it as a memory of happiness or, sometimes, intense sadness. A moment to capture without your heart can produce a ‘beating’ picture, but it doesn’t catch you.
My tip for beginners, but certainly also for experienced photographers, never let it become routine: look at your models. Talk to them and catch that moment pictures with your camera and with your heart!
To capture a moment in time”, is that really possible?
In May 2015 I wrote a blog about the ideas of philosopher Henri Bergson. About time and what it means for photography. A photograph captures a moment in time. But according to Bergson, our inner experience of time is not linked to one moment.
But has a certain duration, which is related to the continuous renewal that takes place in time. Our experience of time begins in the past and continues from the present to the future. The time we experience “lasts”, the time we measure is not.
The question I asked on the basis of the above in my previous blog is: Are there pictures of captured art photography moments that represent something of the duration of the recorded moment? Or is that by definition not possible, because catch the moment meaning a photo captures one moment in time?
In the blog, I show a few photos that I think may have something of an underlying story, of “duration”. But I doubt it. So I end the blog with: “So I’m not really out yet! Real life moments photography to be continued, I think.
The Sequel Of Catch The Moment Photography
I came across a fascinating sequel book a fleeting catch a moment photography by the English writer and art critic John Berger (1926): Understanding a Photograph (Penguin Classics, London, 2013). That book is a collection of articles he wrote about photography. And it turns out to contain a few articles. Which deal precisely with the question.
Whether photographs can represent something of the “duration” of the recorded moment. He says very interesting things about that. I was rather surprised by great captures photography, I didn’t know that more people were dealing with that question.
The first article of interest to me in the collection is about the photographer Paul Strand (1890 – 1976). About that photographer John Berger says: “We will see that Strand in all his best photos of people not only offers us the visible proof of their existence, but the proof of their life”.
And a little further on: His method as a photographer to a moment captured photography is not very common. One could say that it is the opposite of the way Henri Cartier-Bresson photographs. The photographic moment for Cartier-Bresson is a moment, a fraction of a second.
And he chases that one moment as if it were a wild beast he wants to get hold of. The photographic moment for Strand. On the other hand, is a biographical or historical moment, the “duration” of which is ideally not measured in seconds.
But in the connection it has with life as a whole. Strand does not chase a particular moment. But encourages a moment to really come into being. Just as you can stimulate a story to be told.
The Story In The Photo
Even further on: “Strand does not place his camera in a place where the story is going to happen. But where a number of photo events come together, are connected. In this way, he makes narrators of his subjects, without using fun stories. The river tells itself.
The pasture where the horses graze describes itself in detail. The woman tells the story of her marriage. In each case, Strand, the photographer, has carefully chosen the place of the camera as the listener.
And: “His best photos are unusually dense, not in the sense of overloaded or dark. But filled with an unusual amount of substance, essence per square centimetre. And all that substance is material of the life of the subject photographed.
Take the famous portrait of Mr. Bennet from Vermont (New England, USA) from 1944. His jacket, his shirt, the stubbles on his chin. The wooden planks of the house behind him, the air around him.
That all together in this picture becomes the appearance/appearance of his life. Of which his actual facial expression is the clenched soul. It is the whole picture, frowning, that looks at us.
Still about Paul Strand: What ultimately determines the success of his photographs of people and landscapes. Is that he is able to provoke the story: by presenting himself in such a way to the subject. That the subject is prepared to say: “I am as you see me”.
Captured Moments Photography Refers to the Present
The present captured moments photography tense of the verb “to be” refers only to the present. Nevertheless, with the first person singular before it (so: I am) the term incorporates the past. Which cannot be detached from that personal pronoun (I). I am encompassing everything that has made me so.
His article ends with a beautiful, summarizing paragraph. Which gives the impression that just before that. Berger read another text by Henri Bergson about time. For me, the core sentence in how to capture great photos is: “His pictures convey a unique feeling of “duration”.
The whole paragraph reads as follows: Because photography records the appearance of an event or a person. It has always been closely connected with the idea of the historical. The ideal of photography, apart from the aesthetic, is to capture memory moments photography. But Paul Strand’s relationship as a photographer with the historical is a special one.
His photographs convey a unique feeling of “duration”. The “I am” is given time in his photographs to reflect on the past and the future. The exposure time does not affect the time of “I am”; on the contrary, one has the strange impression that the exposure time coincides with the time of life.
So much for John Berger about the way Paul Strand managed to the “duration” of the recorded moment. But for John Berger this is only the beginning of his thoughts about “duration” in photography. We are already one step further, but there is much more to say about it.
Capturing a Moment Is That Possible
This is my second blog about what it means when you capture a moment in time. So actually cut a slice out of the time possible stream. According to philosopher Bergson, time as we perceive it does not consist of all thin slices. But has time in our perception “duration”.
The time we perceive begins in the past and continues into the future, and all these moments are connected (“duration”). A photograph does not capture that past and the future, but only takes the one moment. What do you see there, what does a photo like this mean without having “duration”?
In my previous capturing moments photography blogs I already mentioned the English writer and artist John Berger a few times (Understanding a photograph; Penguin Classics, London, 2013). He has interesting ideas about the question that is central to this series of blogs.
Berger thinks about the meaning of a photo. Meaning, according to him, is not something of a moment. But we discover the meaning of a photo. In the connection of the image of that photo with other events or images. Without a story, without something that develops, meaning does not exist. A photographed moment can only acquire meaning. If the viewer can find something of a development in the image, something of “duration”.
How To Capture The Moment In Photography?
In my previous capture a moment blog, the difference between personal photos and public photos already came up at this point. With a personal photo, the viewer recognizes what is in the photo (a person, an event). Because that is part of his or her private life. The context of the fixed moment, the “duration” of the photograph, is then put forward by the spectator himself.
For viewers who have no personal relationship with the content of the photo. Think for example of viewing “found photos”, the image shown has no meaning. With a public photo you need a caption to understand the meaning of the specific moment. Capturing the moments photography example: “Nazis burn books” (see photo).
Being able to understand such a capture moments photography often requires a certain sense of history. Which is not necessarily present in every viewer. If you don’t know what Nazis are, you don’t understand anything about that photo.
Berger uses two special terms to describe the above: discontinuity and ambiguity. He says: Photographs give a quotation from a continuous series of images.
By extracting one moment from that series, a discontinuity arises (an interruption of the series). And this is reflected in the ambiguous meaning of a photograph. This means that the photographic image is open to more than one explanation.
All photographic images are ambiguous, except for people who have such a personal relationship. With the event that has been recorded, that their own sphere of life provides the missing continuity. After all, they know the previous history and the sequel of the event in the photograph. And can therefore “place” the photograph image.
Understanding The Photo
With a photo in the public domain, for example a newspaper photo. The ambiguity is usually ‘solved’ by adding words to the photo (a caption, an article). With which the event recorded in the photo – more or less truthful – is explained. This gives the reader the feeling that he understands the photograph.
But, according to Berger, there is another way. There are photographs, he says, that express the ambiguous meaning of the photograph in the image itself and explain it. He calls them expressive photographs. According to him, such a photo is actually a long quotation of images.
But the length of the quotation is then not measured in terms of time. Because a photograph is not a film. But in terms of extending the meaning of simple shots photography. This expansion is achieved by making the discontinuity of the photograph an advantage.
The original story was broken off at the moment the photo was taken. But the resulting discontinuity creates space to read a new coherence in images, with other suitable images spontaneously coming up. A coherence that, instead of telling the original story, leads to new ideas.
To new stories that take the place of the original series of images, from which the photograph is a quotation. In this way such a photo does not so much tell “the truth” as a “credible” story.
A Captivating Example
As an example of a captivating sample, Berger shows a photograph by the photographer. Whose captured photography and design is: Soldier leaves, June 1988, Birmingham. In the photo you see a woman with children, who says goodbye to her husband.
Who as a soldier in the army will fight for the preservation of the newly formed revolutionary Republic. You can only understand the photo. If you know something about the underlying historical developments. That’s probably why the photo was given the extensive caption.
But apart from the historical context, the photo also has a broader personal meaning. As a viewer you see from the sidelines the farewell of a man and a woman.
A personal drama that takes place before your eyes in the photo. And with which you can identify as a viewer. In the history books you don’t see that personal drama, there you only read who eventually won.
But in this personal captured moments photography of a farewell you get a glimpse of another reality, which also exists. Berger mentions a large number of elements in the photo. And that all play a role in expressing that personal story, such as these capture the moment photography quotes:
- contrast between the woman’s dress and the heavy overcoats of the soldiers
- the woman’s concentrated gaze – as if her husband were already far away
- embarrassment of the man with the situation, which shows that she is stronger than he is at the moment
- the boy who is surprised by the uniform of the father and realizes that this is a special moment
See The Details
All these (and other detail) seen elements lead to new connections with spontaneously emerging images. By the hand of the woman on her belly, Berger sees for example how she peels potatoes with that hand. How she raises her hair with it, how the hand lies when she sleeps.
And he sees how she still controls her grief at her husband’s departure. But also that when she gets home she will let her tears run. This is what Berger calls an expressive photo, which can lead to new ideas and connections to capture your moment photography.
According to Berger, images can lead to coherent thoughts, because they are part of something that resembles a language. He calls this a half-language.
This half-language of images arouses the constant expectation of the possibility of new meanings of images. With our eyes we seek understandable coherence at all times in everything we see. In daily life, this search is not always satisfied.
Capture the moments photography can confirm the expectation of coherence in images. And does so in a way that captured moment photo can be shared with others. In expressive photographs the images no longer form the story of the only, almost divine truth (the camera cannot lie!).
But they have the character of an explanation of reality in the form of an understandable coherence. It is this confirmation of coherence that touches us in that moment photography. When that coherence arises we suddenly feel at home with the images.