How to cure the “Hurry-up” illusion

[Heroique]

Just curious – we all see promising compositions disappear because we aren’t fast enough.

The light changes, the wind picks-up, the rain moves in – and you’re only half set-up.

But how many LF compositions fail to appear because you aren’t slow enough?

I’m thinking of the ones coming, not fleeing – the ones you don’t see because conditions (physical & psychological) haven’t quite created them yet.

How do you decide whether to wait for them, or abandon them and go home?

Do you think going slow takes more skill than going fast?

[Kirk Gittings]

I'm a firm believer in Fred Pickers old axiom: shoot it now AND wait for something better. I don't hesitate to wait for a couple of hours.

[lenser]

Some times a good paperback and the impulse to look up from it every minute or two are your best tools.

[Vaughn]

I was too slow to make an image on Monday -- mostly because I took the time to watch salmon making their way up the river before arriving at the place I was going to photograph. By the time I set up the 11x14 and worked with the light for awhile, the sun went behind the ridge. So it goes. I might be able to make the image at some later date...the light I should be able to find again, but the lack of wind might be harder to find. And I may not even attempt the same image, but as it sits in my brain and changes, how I approach it next time could be quite different. Perhaps 8x10 (or a vertical 4x10) and a longer lens.

Going slow is an art. It is all tied together with the art of seeing. Waiting does not necessarily mean staying in one place...it is more of a state of mind. One can practice walking Zen or sitting Zen. Or put another way, it is not neccesarily about finding or waiting a composition, but rather discovering each other.

[ImSoNegative]

A couple of weeks ago i was doing a portrait in what i was seeing as perfect lighting, soft morning light hitting the leftside of her face and carrying over onto the right side in just the right place, i quickly set the camera up, metered and was ready to take the shot, damn what a shot i thought, just as i was getting ready to press the release, the light vanished, not gradually either, it totally disappeared all at once (maybe if i hadnt of thought "damn what a shot" i would have had time to get the shot. oh well, its all part of the fun I suppose

[Ed Richards]

Shoot it now and wait works very well. Fred would also recommend walking around and looking for a better angle while you are waiting.

[David Lobato]

I agree with what's being said here. I have a habit from years past with the 4x5 to hurry while the light is good (and which paid off several times). But just last Sunday I was photographing and it was a little too early for the sun to completely light the object. I took a couple of exposures anyway and looked for other compositions by eye. Taking my time on a nice afternoon the sun did finally move to illuminate the subject just as I hoped. So I re-did the setup and took two more exposures. Developed the 8x10 sheets last night and what would you know, both are very nice. Can't really say one is better than the other. For once, a win-win. The later one was posted this morning on the "old things, farms, buildings ..." thread.

[Greg Miller]

Just curious – we all see promising compositions disappear because we aren’t fast enough.

The light changes, the wind picks-up, the rain moves in – and you’re only half set-up.

But how many LF compositions fail to appear because you aren’t slow enough?

I’m thinking of the ones coming, not fleeing – the ones you don’t see because conditions (physical & psychological) haven’t quite created them yet.

How do you decide whether to wait for them, or abandon them and go home?

Do you think going slow takes more skill than going fast?

Good color landscapes are largely about the light. Light has 3 primary qualities: direction, color, and intensity. I think any accomplished color landscape photographer has learned to understand if those qualities are optimal or not. If not, then waiting is the best option (for personal work; shooting on assignment is a totally different matter). Waiting might mean a few seconds, a few months, or a few years. I have 2 photos of a nearby location that I passed at least twice a day for 15 years. All other times the light was not optimal so I waited.

I also plan my outings to correspond with the weather and time of year. No sense shooting a grand landscape if the sun is rising from a direction that isn't desirable.

[Brian C. Miller]

Just curious – we all see promising compositions disappear because we aren’t fast enough.

The light changes, the wind picks-up, the rain moves in – and you’re only half set-up.

But how many LF compositions fail to appear because you aren’t slow enough?

Earlier this year I was out at Grand Coulee dam, and there was intermittent rain. When I drove through, the clouds were totally socked in. The water was pouring over the dam, and it was just a magnificent rumble. I got out, stretched, looked around, got back in the vehicle, and took off. A mile down the road I saw in the rear view mirror that the sun had poked out for just a moment, and lit up the cascading water against the dark storm clouds.

[Ken Lee]

"how many LF compositions fail to appear because you aren’t slow enough?"

Now you're talking.

Quiet the mind. Work more slowly. See more deeply.