Theatrical narratives in photographs are more a technique
of analysing images rather than any method of taking them.
However, understanding the underlying connotations of
images can enable greater planning when setting up a studio
shoot or when considering how to crop and frame a scene
you are looking to capture on film.
When we look at a photo, we are seeing a small snapshot
of a greater event. We only see the moment of time when
the shutter was pressed and we only see the view that
was within the camera's sight. Even though we may be able
to piece together clues as to what may have been occurring
before the shot was taken and what may have gone on to
happen, all we know for sure is what we can see. Even
though we can possibly guess what scenery continues out
of shot, we only have the immediate view to go on.
The subjects within our rectangular view and our perception
of what is behind the scenes form the plot of the theatrical
narrative. These plots revolve around the relationship
between 3 key elements:
1. The scene
The scene is our stage. It encomapsses the square view
we can see within the photograph's edges.
2. The subject
This is the person we are looking to photograph - the
actor on our stage.
3. The viewer
This is us, the audience looking on.
How these three elements interact with each other determines
the narrative. In order to ensure an ample scene with
which the subject can interact with, we shall crop the
shot utilising the rule of thirds in order to show the
space which the subject is moving into or out of.
The four areas for consideration are the subject's relationship
to the scene itself, the subject's relationship to the
viewer, the motion of the subject, and the interaction
between subject and viewer.
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SUBJECTS DIRECTIONAL
RELATION TO SCENE
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ENTERING
A subject at the side of
the canvas that is angled inwards gives the suggestion
of someone that has just entered the scene.
The connotation is that
this person has just arrived here and the event
of the photogaph has yet to happen.
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STAYING
A person facing straight
towards us or directly away from us gives no indication
of entering or exiting the scene. In the viewer's
eyes, they are staying.
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EXITING
A subject angled away from
the scene gives the impression that the event of
the photograph has already occured and they are
leaving.
Although their departure
will obviously carry them into another scene, we
cannot see it and so all the information we have
is the subject's relationship to the scene they
are now departing.
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| SUBJECT'S
DIRECTIONAL RELATION TO VIEWER |
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APPROACHING
A subject facing the viewer
will quickly engage the viewers attention. Just
as in a crowd of strangers, anyone facing you is
a far more welcoming prospect to ask the time rather
than tap the shoulder of soneone whose attention
is elsewhere.
A subject facing us leads
us to assume that a greeting between subject and
viewer is in progress or about to occur.
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PARALLEL
A Subject at right angles
to the viewer creates the feeling that the viewer
is merely an inceidental onlooker with no participation
to play in this scene.
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DEPARTING
A subject deliberately facing
away from the viewer need not necessarily mean that
the scene will seem hostile and closed. Depending
on the context, it may give the viewer the feeling
that the subject is actively leading them somewhere.
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| SUBJECT'S
MOTION |
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STATIONARY
A stationary subject shows
a very static scene. There is the feeling that the
subject is resting or paused for some reason. Clues
within the context of the shot might add reasons for
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KINETIC
A subject in motion leaves
us with no doubt of their intentions. Whether moving
into shot or exiting, we can clearly see where they
are and where they are intending to go. |
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| SUBJECTS
RESPONSE TO VIEWER |
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PASSIVE
Wherever a subject might be
positioned, their gaze is crucial to the shot. Even
if the subject is facing the viewer and moving towards
them, unless the eyes are making contact with the
viewer then the result will be a passive shot. |
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ACTIVE
Eye contact within art is
an extremely powerful element that can completely
alter any shot. When Manet painted his 'Olympia'
it caused uproar due to the fact that the woman
was making eye contact.
Although other nudes in
art before this had engaged the viewers gaze, these
had all been historical and mystical figures.
All other nudes had historically
averted their look, oblivious to the voyeurisitc
gaze of the viewer. Here in Manet's piece was a
real woman (visual clues within the piece indicated
a prostitute) who was making eye contact with the
viewer without seeming concerned at all.
Art critics at the time
stated that Manet had crossed the boundary that
separates artistic nude from naked body.
Eye contact between the
subject and the viewer places the viewer right into
the scene as an active participant.
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Much of what has been discussed this far is all relatively
straight forward and self explanatory. It is when all
four elements come togther that the narrative takes shape.
When taking your own photographs or studying other people's
work, think of the narrative being presented.
Here, as an example, is a series of images showing a
female on a beach with an analysis of the potential narratives
being presented.
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REAL WORLD EXAMPLES:
(female on beach)
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to
scene:
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STAYING
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to
viewer:
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APPROACHING
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motion:
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STATIC
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ACTIVE
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Probably the most standard and generic shot of
all the possible combinations.
Due to the lack of any movement or direction, the
result is a tableau-esque scene. There is little
narrative to extract from this type of shot other
than the physical presentation of the subject themselves.
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to
scene:
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STAYING
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to
viewer:
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APPROACHING
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motion:
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KINETIC
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ACTIVE
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This shot has almost the same breakdown as the
above except for the addition of movement.
Now we have the suggestion of a meeting. This is
no longer just a static shot of a female on the
beach; the subject is approaching the viewer.
One thing we certainly have to take into account
in this narrative is the speed of the suggested
movement. The slow pace could almost be cautious.
This scene could either be a relaxed greeting or
maybe the exchanged glance of a passer by.
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to
scene:
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STAYING
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to
viewer:
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APPROACHING
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motion:
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KINETIC
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ACTIVE
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Same Staying-Approaching-Kinetic-Active set up
as above yet with a definite increase in the speed
of movement.
This acceleration places this shot unambiguously
into the greeting category. If the angle was altered
a fraction to place the female on a trajectory that
passed to the side of the viewer then this could
simply be a female running on the beach. But the
head-on nature of this shot places the viewer right
into the path of the female running.
The active focus of the gaze adds to the happy,
playful look of this scene.
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to
scene:
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STAYING
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to
viewer:
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APPROACHING
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motion:
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STATIC
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PASSIVE
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The set-up combination here matches the first shot
other than the fact that we have a passive rather
than active gaze.
However, the nature of the gaze here is not clear
and is passive only due to the fact that teh figure
is silhouetted and so where their eyes are looking
is unknown. This opens up the possibility that the
passive nature of the gaze is only one way and that
maybe the subject is looking at the viewer.
Photography usually involves an active gaze where
eye contact is made with the subject or a passive
response where the viewer is looking at the subject
and yet the subject seems oblivious to the viewer.
To have the possibility of the subject gazing upon
the viewer without the viewer being completely aware
of this fact reverses the norm and seems to empower
the subject.
The seemingly mystical quality to this image is
further enhanced by the lack of any movement or
suggested direction. It is almost as if the female
figure has arisen straight out of the sea.
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to
scene:
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EXITING
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to
viewer:
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DEPARTING
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motion:
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KINETIC
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PASSIVE
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This solemn shot is all about reflective solitude.
There is no active response here, as we are not
party to the thoughts within the female's head.
We are merely distant onlookers.
The entire set up is working together to reinforce
the lack of proximity to the subject and the emotional
distance this represents.
The fact the subject is exiting the scene and departing
from us connotes that the inner thoughts of the
subject are out of our reach and growing more distant
as time passes.
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to
scene:
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ENTERING
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to
viewer:
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PARALLEL
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motion:
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STATIC
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ACTIVE
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The subject here is entering and looks as if they
have stopped and then turned to look at the viewer.
Is there a connection in this shot between the
subject and viewer or has this female merely wandered
in from the side and turned to acknowledge our presence?
Any pose that involves a subject that is not facing
the viewer and yet still making eye contact naturaly
carries with it the connotation that the viewer
of the image has interrupted the scene within the
photograph and altered the event on display.
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to
scene:
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ENTERING
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to
viewer:
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DEPARTING
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motion:
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STATIC
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ACTIVE
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There's always a twist at the end and this one
makes all the difference. This image is almost a
repitition of the previous scene, but we have rotated
the subject very slightly to acheive a departing
shot rather than a parallel view.
This over-the-shoulder look is one of the most
engaging pose/gaze combinations acheivable. The
fact that the subject is orientated away from the
viewer and yet deliberately turning right round
to make eye contact places the viewer right into
the shot in a very active way.
Where as there was the possibility of the viewer
being incidental in the previous parallel image,
merely glanced at sideways, here we are standing
behind the subject and are aligned in the same direction.
Obviously if the exprsssion was one of discomfort
and there was rapid movement within the image then
a 'following behind' image can take on a quite sinister
narrative indeed.
However, the calm stationary stance in this image
shows we are a welcome presence. The extreme twist
to make eye contact suggests the subject is turning
to seek some form of reassurance, that the viewer
is still close behind or for an indication of where
to go next.
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