Creating simple seascape photography is one of my favourite approaches to the art form. The monochrome images produced by Jonathan Chritchley, Michael Levin and others have influenced my landscape photography for one very straightforward reason: I like looking at these types of images!
What processes do I explore when making simple seascape photography? Long exposures seem to be a key consideration when making such images, especially monochrome. This tool is useful to control the blur of moving elements which creates a degree of homogeneity to areas within the scene. For example, the rendering of moving water or clouds as single blank objects helps to reduce multiple, sometimes detailed and complex elements to a single object. At other times I choose to keep complex skies with drama and detail. Controlled blurring and using movement to reveal or hide texture is another tactic to aid simplicity within the frame. Being able to contrast texture against a uniform element can create dynamic tension or simply become the point of the image.
Light, or more to the point, the quality of light is less important when I make simple images. Often shooting in the middle of the day or against bland white skies is not the favoured approach amongst my photographic peers. However, when making simple images, I often look for homogeneous elements to enhance the feeling of simplicity. Bland skies, flat light and diffused non-directional light sometimes help me with my composition. This is not to say the quality of light is unimportant; it is more about the often overused golden hours being less important when putting the elements together that make a simple image.
Having considered movement, texture, light and other factors that help make simple images, to my mind, the most important part of the simple image is the use of negative space. Allowing a single subject to have dominance within the frame, show its vulnerability, allow it room to breathe or allow the viewer to form opinions about its importance all depends on the use of negative space. Negative space can help find the final balance within the scene that reveals simple landscape photography. It is not just about what to leave out; allowing people to question, understand or have an emotional response, I feel often pivots on the use of negative space.
My initial approach to creating simple seascape photography began by making black and white photographs but has evolved into exploring colour. Making monochromatic colour images or using complementary and contrasting colours has, for me, been one of the most difficult parts of making simple images but has become one of the most satisfying. When shooting black and white images, colour was much less important; some bold colours could influence the black and white conversation in the post-production of RAW files. However, consideration of complementary or contrasting colours can help balance some compositions, draw attention to or divert it away from elements within the scene and help to retain an air of simplicity. These are complicated factors in the making of simple seascape photography that I continue to struggle with.
My visual style has gravitated towards simplicity. I don’t think it has been a process based on overt choice. It has been a process of osmosis stimulated by the work of such luminaries named above, engendering my own thoughts and style. My conclusion is that simple images are made with few competing elements within the frame and use negative space to convey an idea or message, provoke thought, convey mood and draw an emotional response from the viewer.
Although the images presented appear to be simple, the thought processes, compositional considerations, subject matter, use of texture, light, movement and negative space were part of a complex internal artistic debate which was time consuming but nevertheless thoroughly absorbing and hugely rewarding.
Blog post by Tony Gaskins.
Vlog by John Haswell Photography