Take some photographs that include a person or people in a particular place, but deliberately make them unrecognisable and, as a result, less prominent. Consider the techniques listed above [small and many, facing away, in silhouette, partly obscured, motion blur], but also feel free to use any other method you can think of.
Make between two and four photographs which use different techniques to achieve this. To reiterate, a successful image will be one that is primarily about the place, but in which one or more figures play a subsidiary role to show scale and give life — to show that it is in use.
I tried a few different techniques and these are the ones I felt worked best.
In this you get the sense of the place, a narrow side street in the old town in Nice, with just a hint of a figure turning the corner into the shade. The leading line of the shaft of light, and to a lesser extent the blue arrow, help you to find the figure.
Shooting downwards from a high vantage point helps to anonymise the figure whilst still taking in enough of the surroundings to give a clue as to the type of place. This is probably the weakest in terms of showing the space – the balance is more in favour of the figure than the other three.
I almost used this for the ‘single figure small’ exercise but felt that it also suited this concept. The rhythm of the shutters is established, then broken with the white-haired figure in one of the windows. It’s the scale that makes the figure anonymous here.
Subtly different to the shadow one… in this instance there is strong, low light behind the camera and the figure is walking into the darkness, with edge lighting through the hair allowing the viewer to make out the figure, and providing a focal point. I think with this one the viewer can get an idea of the space, albeit a vague one. The inherent darkness of the backdrop makes this a more atmospheric and less literal depiction of the space.
5. Selective framing
By electing not to include the head in the frame, it becomes easier to focus on the context (the antiques stall) rather than the person.
What I’ve learned
I found this quite a puzzling challenge initially… it took me a few goes before I got into the idea, and many of my early attempts were equally applicable to ‘single figure small’ (as per 3 above) as I evidently fell back on size/scale as my default technique. Once I’d loosened up a bit, photographically speaking, I found other ways of expressing the same idea. It stretched my brain a little bit, but that’s undoubtedly a very good thing. I’m not completely sure I got the right balance between figure and environment in all of them, but I’ll work on that for the next exercise.
What’s fascinating looking back on these images, and the works of others with a similar visual intent, is that making the subject anonymous it makes it so much more likely that the viewer can imagine themselves in the space. By not identifying with a specific individual, it allows the viewing to be more of an ‘internalised’ experience. The more recognisable the subject, potentially the more ‘externalised’ the viewing experience becomes. This is something I hadn’t thought about at all before now.