Creative photography techniques

Author: Editor-in-Chief: Dong Yunzhang
Publisher:
Publish Date: 1998-01-01
Features: Segment: Anthropomorphic photography focuses on leveraging the physical and "behavioral" characteristics of anthropomorphic subjects to resemble or establish a relationship with humans, cleverly placing them together in the frame to enter the realm of personification. For example, in some anthropomorphic photographs, one can see humans and animals "passionately hugging," humans becoming "friends" with sculptures, and some photographers even capture scenes of humans and dogs sitting at a table together, truly amusing to behold. In another work, two binoculars and a woman holding a camera have similar appearances, facing the same direction, naturally creating an anthropomorphic effect (Figure 6, Photographed by L. Zhanshi). Some anthropomorphic photography is particularly engaging; it often relies on the "expressions" and "" (postures) of anthropomorphic subjects, combined with their attributes, to evoke associations and allow one to perceive their "personality," "temperament," and "emotions." For instance, this Colorado rock has a large, sharp, and long nose, indicating determination, composure, and extraordinary presence, said to resemble a "Scottish man" (Figure 7); this Ford car has a stern and commanding face, as if it is extremely arrogant and disdainful, making one feel intimidated (Figure 8); that septic tank looks rather pitiful, with a pouting mouth and slightly drooping eyes, revealing its helplessness and resignation (Figure 9); the giraffe holds its head high, filled with curiosity, as if it wants to capture the joys and sorrows of the human world through its divided eyes (Figure 10). It is evident that, like portrait photography, anthropomorphic photography also values "harmony between form and spirit." Thus, it naturally creates suspense and invites contemplation. Additionally, the anthropomorphic aspect of photography is implicit and dynamic, achieved through exaggeration and contrast, unlike the more overt personification in other arts. For example, in animated films, "Grandma Wolf" becomes vividly alive just by standing upright and being given a voice; a "mischievous pencil" becomes very lifelike when given two legs and hands and a face drawn on it. However, the subjects of anthropomorphic photography are objective objects, and it is generally inappropriate to artificially "disguise" them. Otherwise, not only would their original meaning be lost, but the photographs would also appear pretentious and dull. Therefore, anthropomorphic photography requires creators to have sharp eyes, rich imagination, clever concepts, and skillful techniques to produce works with profound meaning and rich charm. If anthropomorphic photographs are created as a series based on different themes, they would be even more interesting. In fact, the materials for anthropomorphic photography are abundant in life. Sometimes, without noticing, the "bodies" and "faces" around you are "watching" you, "noticing" you, "studying" you. Even when they pass by you, you might remain oblivious. Perhaps the "back door of a mail truck" often gazes at the driver running toward it with a look of terror, while the driver remains oblivious to its emotions? The "clouds in the sky" frown and glare, looking down resentfully at the indifferent people, yet the people have no idea they are angry or sulking.