I took a trip up to Silverstone for the first time this year, to catch the Vintage Sports Car Club meet that was going down over the splendid last weekend.
Yes, I returned to the airfield, even thought I had said I would spend less time there this year. There’s good reason behind it.
As discussed in past blogs, I’m very aware of shooting the same images, one of the reasons why I’m not keen on Silverstone due to it’s familiarity.
When there on an average race weekend, behind the fence, opportunities to widen your photographic application are limited; the more time you spend up there, the more repetitive images appear.
I’ve panned the crap out of every corner at Silverstone, explored every vantage point and grandstand that I can get to as a spectator, and short of practicing extreme techniques or the use of different equipment (which I don’t have) the scenes presented by the blue seats, green grandstands and red white armco are commonplace, no matter where you stand.
Variety is hard to find, amongst the ironing board horizons and expansive skies, but there is a way…its just took me a while to realise it.
One big perk of Silvers is that it often hosts very open events, at which you can gain close proximity to the cars, garages, drivers and details. With less obstruction, and time to contemplate, opportunities arise; great if you’ve got the capability to elaborate.
Recently, I’ve been studying how other photographers approach these ‘static scenes’, their approach to angles and compositions. Enjoying the images is one thing, attempting to interpret techniques employed and gather similar, effective results in entirely another.
As I’m not one for static shots, trying to apply them is something I find very difficult. I always feel they lack a certain impact.
Instances of creative void like I experience with still images, often require a specific inspiration to give you the will to persue and improve.
There are a few image makers on the old insta-like that I follow whose work I find quite appealing; clean, well balance images that will turn a snap shot into a rich, dynamic interpretation. I try and emulate this impactful style in my panning; plenty of colour and action, but I find the movement makes that a little easier. To give a static scene an equal amount of buoyancy, is a real challenge.
DAAI – or Dave Adams for short – is one such photographer who manages to conjour a wonderful balance in his work, accentuating subjects without actually accentuating subjects, if that makes any sense. I really admire his presentation and how he is able to take a very simple scene and add life and dynamism to them. Simplicity with pop. I want a piece of this.
Another who demonstrates an astute eye for luscious detail is Pedro Dermaux. Pronounced images with a more saturated style; taking a run-of-the-mill pit scene and using wonderful depth and colour to highlight the most insignificant detail. His work is in certain cases the opposite of Dave’s; complex scenes simplified with incredibly effective results.
Both utilise an eye and technique that I’ve not attempted much, but they have inspired me to challenge myself and see if I can accommodate some of those aspects in my photography. I think the trick is to be patient, be observant and be open to varying your application.
This may well be the angle (pardon the pun) that I need to surpass that familiarity duldrum I’ve been experiencing this year.
Let me know what you think of the gallery.