"It's rude to stare"

 

Sony A99 with a Minolta Maxxum 35-70 F4

Paediatric Compassionate Photography (PPP), Part 3 of 4: Approaches and Shot Selection

 Part 3: Approaches, Shot Selection, and Editing

Paediatric Palliative Photography presents unique challenges: cramped and limited space, less-than-ideal lighting conditions, an emotionally-charged atmosphere, at least 1 of the main subject is immobile and unresponsive to instructions, presence of children too young to be aware of the solemnity of the occasion, and a narrow window of time to capture the occasion.

The self-expectation is to capture a portfolio of images that is more than the sum of its parts, with some parts that will stand on their own artistic merits.

There are 3 ways to approach this assignment: 1) like a fly-on-the-wall, 2) with active manipulation of the scenery, and 3) a hybrid approach. The chosen approach will depend on the level of grief, cultural beliefs, medical considerations/available space, the wishes of the adults in the room, and the comfort level of the photographer. My preferred method is the hybrid approach, adjusting my active participation based on the moment(s).

Before anything else, the photographer must talk to the health providers as to the name and gender and medical condition of, and procedures-timeline for, the patient. Ask about known family dynamics; negative undercurrents may rise up in times of grief. To the patients' relatives, make it known that in addition to typical poses, you are open to their ideas and suggestions. In my experience, it helps immensely that the bedside health providers are familiar and comfortable with what I do, and they will have assured the patient's family beforehand, of my competence and professionalism. All this is to avoid awkward and embarrassing moments that will get in the way of taking photos. 

Depending on my availability, I let the staff know of the possibility for photos taken immediately after withdrawal-of-life procedures; photos of the patient untethered from medical technology is an option.

It will be up to the photographer to make an image interesting. This is, after all, what the photographer is paid to do. In theory and in practice, there are 7 principles of art and design. Here is one link that illustrates this. 

I will leave it to the individual photographer to come up with a unique shots-to-do list but here is my must-have-shots list: 

1) details such as personalized blankets, socks, etc, toys, gifts, and cards, bulletin board scribblings, bravery beads, hand molds, artworks, 2) patient's shots, whole body, hands, feet, eyes, potential clothing changes, 3) patient with family members in different combinations (with siblings, with parents, 3+ generations shots, 4) "comparison" shots such as large adult hand cradling tiny feet, tiny fingers grasping adult index finger. 5) close-ups of kissing, caressing, nuzzling, 5) a wide shot of the room for context. In all but for 5), aim for shots that minimize the presence of medical equipment.

Paediatric Compassionate Photography (PPP), Part 4 of 4: Reflections, and the Editing Process

Part 4: Reflections, and the Editing Process

I believe, as do more than a few neuroscientists, that the memory of a specific event is not solely a "flashbulb" moment but is rather, an aggregation of images accumulated over the years. My current memory of my wedding day 33 years ago is made up of photos taken by different people, some shown to us years after the wedding, and of stories told, retold, and reshaped by the people telling them. For the times my wife and I  stood together on that day 33 years ago, her memory will be different from mine.

Photography has the powerful ability to reconstitute what's in our heads so it is very critical that we carefully consider what gets released to the patient's family. It is entirely possible that their recollection of that day's events, as well as their stay in the hospital, will be significantly based on a collection of photos taken with cell phones and by the hospital photographer.

The photographs should document the reality of the situation with tenderness and love, with an acceptance of grim reality, in the presence of family and friends. There are posing techniques (beyond the scope of this post to pursue) that emphasize the connective bonds within the family, that these bonds will endure past the grief. These photographs will be shared with people not in the room and will be seen by children in the room too young to remember. These will be needed to reaffirm the strength of bonds that may be weakened with the passing of a child. These images will live on as long as there are devices to read digital information.

So it is essential to carefully consider what gets released to the patient's family. For example, for a group photo taken in a burst of 4 shots, 3 shots may have 1 key member looking away from the camera with what may be construed as a "smirk". Viewed a few years down the road, and taken out of context, a casual interpretation would be of an "uncaring" family member. It is essential that no matter what the good technical merits of these shots are, they should be discarded and not released to the family.

AND THEN THERE IS VIDEO. But this is for another post.

Missing that Kodachrome 64 look

Post-processed to obtain the look of the legendary Kodachrome 64. Shot with a Sony ZV-1. The aim was to get the Kodachrome colour on the subjects whilst maintaining the near-B&W quality of the environment.

Looking back on my first DSLR Wedding (Nikon D100)

"The more things change, the more they stay the same"

"turbulent changes do not affect reality on a deeper level other than to cement the status quo"

I find it hard to believe that 20 years on (a different lifetime in the digital camera universe), I shot this wedding with a Nikon D100, a 6MP prosumer camera that debuted in 2002 for USD$1999, using the 24-85 kit lens, an upgrade from the 18-55 offering.

When I look at my latest weddings, I see that my style hasn't changed. Certainly, I am better at reading a room, body language, and other visual cues. Advances in camera and lens technologies have allowed me to get sharper, more colourful images, with wider dynamic ranges. But on a deeper level, my eye for composition and my sense of timing has remained the same.