Observational tension is a tool of the storyteller, more often felt than discussed. Its subtle power renders a disquieting tone that invites audience emotion to enter the scene. The tension of a shot that lingers on a subject after the dialogue or apparent action has ended can deliver extraordinary poignancy. It does not work in this way automatically, it requires the right moment in a story, perhaps during an emotional dialogue, or monologue or action during which a character is wrapped in a physical experience.

Observation is part of the idea at work. It can be the observation of the character, akin to documentary, where the camera is objective to the scene, a bit removed from the action. But observational tension can also exist in the subjective as we are inside the scene and with the characters, we can then relate to their objective observation within the story. We are with them.

Experienced directors and cinematographers, actors and editors will look for and create moments to put the tension of observation to work in service of the story. Being attuned to these moments in the creation of a script, filming a scene, a documentary as it unfolds, and in the edit is an essential skill.

These moments of tension, of observation, can be as simple as the slow unfolding of ripples from a pebble dropped into a still pond, the uncomfortable silence between two characters, an expansive view of a prairie, or the lingering, insecure glance of a lover. Allowing a few extra beats on these types moments accentuate the tension of the observation.

The internal tension of these scenes is enhanced, by the intention of what comes before, as well as what comes after. It is the juxtaposition of image and emotion, scene-to-scene, shot-to-shot, beat-to-beat that gives the observational moment the additional tension that amplifies its emotive power. It moves the story along.

A subjective view of a brash, young driver inside a speeding car racing and swerving through crowded streets. Followed by a scene of an old man, walking very slowly across the road, approaching a step up a curb, the camera stays fixed on the old man as the car flashes by obscuring our view of the old man, only to have him emerge once again unscathed. The camera lingering on him for a few extra beats as he wobbles a bit, amplifying the frailty of our existence. The car roars off into the distance.

Observational tension or the tension of observation, no matter how you look at it, it’s a perspective worthy of attention. 

The rise of Ai and its impact on image making has me rethinking what it means to create photographic work. It’s true that images have been easily manipulated since the earliest days of photography, but each day it gets tougher to tell the difference between fiction and non-fiction. It’s wonderful and discouraging at the same time. Photography is not illustration. Ai, to me, is more akin to illustration. This post image was captured approximately 23 years ago during a trip to Andros Island in the Bahamas. I was on a fishing holiday and during down time wandered the island with the Holga. For the uninformed, the Holga is a medium format camera (plastic lens, no light meter). Finding focus is no small task either. Everything by eye and importantly, feel. The B&W film was processed, and I pulled a contact sheet. I would scan the contact sheets because I did not have a film scanner. Other than scanning the contact sheet, no manipulation was done to the image. It is as I saw it, as I captured it. It’s an accurate representation of reality. It is non-fiction.

Ai as a tool of fiction does not diminish its value or potential but to me, it is not photography. It is commercial, it is industrial, it will change many things but for the moment at least, it lacks an easily achieved celluloid negative, proof positive of a life more tangible.

For brands seeking to connect with an audience seeking authenticity, like Gen Z for instance, Ai generated images represent the exact opposite. As consumers we may all get fooled once, but great brands deal in authenticity. It’s true that many a brand has leaned heavily into illustration to tell its value, but those illustrations are also authentic works aligned with the authenticity of the brand. Little opportunity existed for the consumer to question if the talent is a real person, no matter how retouched.

The Dove Real Beauty Campaign is a perfect example of consumers seeking authenticity. There is no room for a lack of authenticity with Dove consumers. Hint, hint, there’s none for your brand either.

An Ai rendering of a person is a complete work of fiction. Is the spokesperson, the influencer real? A lack of authenticity will eventually reveal itself as fiction. Even in the sugary perfection of most advertising campaigns, the greatest brands are anchored in their authenticity. If the lived experience of the customer does not align with the promise, the authenticity of the brand, the customers will vote with their wallets.

Ai generated images make a great case for film capture as a validating providence for images anchored in authentic origins.