Let’s look at how to create a story photo. First, you can take ready-made pictures, but in my opinion it is much more interesting to create such pictures. Them. Create/ invent a plot and then create a diagram showing this plot. The plot is a small life, and the plot of a photograph is a fleeting moment, ephemeral, a shadow of life. To be able to see and display in a single frame an event that involves not only action but also time and space dilation is a daunting task. And since that doesn’t always work, pictures of stories are often presented as a series. This helps to reveal the author’s thoughts most clearly .
According to Leonardo da Vinci, a good painting requires the distribution or arrangement of figures according to the events you wish to depict.
Usually, the plot involves a specific period of time, as there is a beginning, a development, and a completion. In other words, it embodies a particular process.
In a “genre” picture, the people depicted are less likely to be interpreted and understood as a contained process. In order to be recognized and experienced by an audience, the process must contain an important element, a “universal element.” Thus, a “genre” such as portraiture is open to viewers. Unlike a portrait, however, the primary source of representational elements here is the process, not the person depicted. Therefore, “genre” is open not only to the viewer, but also to events in the outside world.
A “genre” shot contains only one phase of the process, as opposed to a film, which can capture the entire process. If the frame is expressive and figurative, the simultaneity of the photograph is overcome. The expressive richness of the frame should lead the viewer to believe that he has deeply and fully experienced the event being shown. Deeply experienced events become holistic for the viewer. For such impact, “genre” photography seeks figuration.
The methods appropriate to the portraitist are more complex because “genre” photography requires an ensemble of objects to create a plot consisting of the people and objects photographed. Proponents of the reportage method depart from the belief that the outside world is filled with expressive ensembles (“reality offers us an enormous amount of subjects”), and the photographer’s goal is to discover them and transfer them into photographs.
Believing in an endless and never-ending expression of reality, the photographer longs for expressive compositions. Searching for them is not the only principle of “genre” photographic work, but it is one of the most important ones.
General. Over time, such hunts have been complemented by other techniques and methods, and today’s photographers use staging, find unexpected shooting points, and use special printing methods . As a result, reporting methods have lost their former purity.
When cameras are seen, the true flow of life is interrupted. When one looks at the camera, one pulls himself up and pretends – becomes what he wants to see. As a result, instead of real life appearing before the lens, it is “staged”. The fact that there is “self-direction” in such cases does not change the nature of the problem.
To avoid replacing the real with the desired, photographers have made extensive use of “hidden cameras.
Another fixed technique – the so-called “always-on camera” – involves long-term observation. Although you know you will be photographed, you gradually become accustomed to the camera, become absorbed in your own affairs, and pay no attention to it.
Of course, it takes a photographer of special sensitivity to be led into “genre” photography, as in portraiture.
In “genre” photography, it is often not a fact that happened there, but a “possible situation” that is sort of real, but not necessarily happening. The photographer does not claim that the situation invented by him happened in such and such a place or in such and such a number of realities.
The photographer catches the moment. It quickly sinks into the past and dissolves out of existence. Delighted with his ability to capture it, he often stresses the accuracy of the fixed moment in accessible means.
For the photographer, the outside world is a bottomless storehouse of expressions, but reality teases the photographer. It opens up expressive objects for a while, then quickly hides.
The “rotation,” the object, seems to provide the watchman with an increasingly expressive element. Thus, Rodchenko argued “You have to pass several different pictures from the object from different points and positions.
Meaning arises from who imagines and implements the pictures, and uses the outside world as material for the materialization of the plan.
The photographer can lay down some signs, obscure others, control the reality of his pictures, and give birth to interesting ideas.
In a photograph of a plot, the viewer usually does not appreciate the beauty of the object, but is suggested by the aesthetics of the actual flat image integrated by the composition. It is assumed that both the author of the photograph and the viewer strive to focus as much as possible on the connections set forth in the image itself. Going a bit further, one could say that the artistic photograph is also an encrypted message, and the theory of composition is the prompt, if not the key, to decoding. And, indeed, decoding at a subconscious level of connection and similarity placed in the form of aesthetic pleasure when viewing a photograph. This provision refers entirely to the perception of the plot photo of the plot photo. This includes the subsequent transfer of compositional relationships to the plot, read according to the prompts of the form.
We emphasize once again: the art photo is not a “plot photo” but a “plot photo. This important feature of art photography does not necessarily imply the need for its intellectual and conscious recognition. The search for connections and similarities can occur on a conscious level, but obviously, once the need for conscious analysis disappears, a truly profound recognition of the photograph is achieved. The sense of “new art” or aesthetic sense responsible for such recognition should be developed by training inherent in some small portion of the audience from birth (as an absolute musical ear).
And so we found what the photographs of the plot are the history of that event. They understood that this genre of photography was one of the first and remains popular to this day. We considered the details of the construction within the living space and the philosophy of plot photography. However, they have not yet mentioned the art of building plot photos. This is because one cannot talk about genre photography without mentioning the work done with the model. It is also necessary to consider the techniques of creating more detail in the photos, not only to correct the moments that went wrong during the shoot, but also to contribute images that will help create a new reality in the plot photos.