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Jim Shoemaker worked as a graphic designer for nearly 20 years before transitioning to photography. He has spent the last 12 years photographing throughout the western United States. His images have appeared in LensWork, Outdoor Photographer, American Photo, Nature Photographer, Silvershotz, Black & White, Rangefinder, Sierra Magazine and many other publications. His work can be seen at: www.jimshoemakerphotography.com.

As photographers, we often discuss the placement of the subject within the frame, which elements are included or excluded, and what is happening at the edges of the frame. But, trying to capture the essence, or the experience of a subject deals with more than knowing the Rule of Thirds. Its the ability to tell a story, and its the difference between making a picture and taking one.

When I’m photographing in any given location, there are things going on outside the scope of my frame that are influencing me. There is the temperature, sounds of wildlife and the aroma of wildflowers. All of my senses are engaged in the moment. My job is to convey that sensation via a photograph viewed by someone who has maybe never been to this place while making them feel as though they were there. To make them feel as if they know the place.

This connection between subject and viewer is vital, whether the subject is a person, a landscape or an architectural structure. It is especially important for landscape work, because if the viewer doesn’t feel a connection, they won’t care about the subject, nor feel the need to protect it. Two methods that I employ to communicate experience of place are creating a mood and point of view.

Creating a mood helps tell a story. For example, let’s say I’m photographing in one of my favorite national parks, Death Valley. If I want the story to be about the harsh environment and its rugged ecosystem, I’ll photograph during the middle of the day when the sun is high and there is high contrast and stark shadows. If instead the story is about how “Death Valley” is a misnomer and there is great beauty and abundant life, I’ll photograph before and during sunrise, and during and after sunset to get pastel, cool colors and low contrast. Choosing an appropriate lighting style renders the landscape in a way that supports the narrative.

Point of view is about camera placement. I order for objects to look larger than life and more iconic, I like to have the camera lower than average eye level. I also look for opportunities to have objects, such as branches, enter the edges of the frame to give the viewer a sense that they are emerging from one place to another. I want them to feel enveloped by the implied surroundings that lie outside of the frame.

There are many techniques that can be used for effective storytelling and for finding your voice as a photographer. The above are merely examples. Connecting the viewer with the subject is far more important than simply making a pretty picture. As Ansel Adams once said; “A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is a true expression of what one feels about life in it’s entirety.”