I've just printed off three of my favourite waterways photos for friends. It occurs to me that they reflect three different ways I take photos on the canals.
You can see all three at high resolution by clicking on the thumbnails here.
1: Watch and wait - Langollen Canal lift bridge
The conventional way is to see a scene in advance and visit to catch it in the right light and weather.
Stand there with your camera, waiting. And waiting. Often you'll have to give up because of the weather, and come back later. Eventually you throw up your hands and say 'to hell with it, this'll do'.
That's how I photographed the Whitchurch Arm on the Llangollen Canal in November 2003. I tried to photograph it the afternoon before, but the light wasn't right. I photographed it here the next morning (a weak winter sun) but the light still wasn't quite right. But it never is, is it?
The lift-bridge is the attention-getter in this scene, but a lot depended on the weather and the light to show the Canal Arm in the background. And someone to come along and work the bridge and add some excitement. Which they never did. To hell with it, this photo will do.
2: The tableau - President at Burton
Then there's the scene with humans, and you have the chance to manoeuvre them around. It's what I call a 'tableau' - a composition of humans. (based on the old tableau vivant).
This scene was the steam narrowboat President at the IWA Festival at Burton in 2004, waiting at Horninglow Basin for the arrival of the local mayor. And while they were waiting, I spotted this chap relaxing on the bow.
I was about to click the shutter, but something was missing. The background was blank and boring. My model was bored too, and he shuffled to get on his feet. So I shouted across to him, asking if he'd lay back again for a moment.
No, not there, I said with considerable bossiness. There, just there. That's right, thanks!
With good grace he moved to the right place on the boat's bow, and after a few seconds - just as he began to fidget with impatience - my prayer to the Great God of Composition was answered by a passing cyclist. I had to work and wait to get the elements into place.
The limiting factor here is mainly social. It's all about 'directing' - the ability to be cheeky enough to tell your models what to do, even if you've never met them before.
(Anyone recognise my male model? The Mayor arrived shortly afterwards, and I never got the man's name, so couldn't thank him.)
3: The contingency shot - Windmill End
Then there's just the moment you seize, unplanned. You just have to hope you caught it. I call it the contingency shot.
This scene at Windmill End was in the dying light of 30th December 2006. Coming out of Netherton Tunnel, I found it raining heavily, and as I pulled in to the side, a parade of Canada Geese emerged indian-file from the Bushboil Arm, following the directions of the junction signpost.
[The link to the Bushboil Arm is the best one I can find. It's significant that No. 1 on Google for such significant spot on the waterways is one man's record of his holiday seven years ago. Just goes to show that we can all be equal on the web. Well done, Gerry Cork!]
I grabbed an umbrella (good cameras aren't waterproof) and it was tricky holding the umbrella while trying to catch the goose parade. And I only got one chance. The result was woefully underexposed, and needed a lot of tweaking to recover the picture.
Of course, I'd like to have stood on Granny's roof so that the line of geese was more in the centre of the water. But I'd never have caught it at all if I'd stopped to adjust the camera settings or the composition. Or the umbrella.
The limiting factor here is perfectionism. The best is the enemy of the good.
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