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Below are the three most recent Here's a Thought . . . commentaries
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| HT2761 - The Immersive Challenge |
We all have art we love and art that leaves us cold. In thinking about my own responses to artwork, I've come to the conclusion that the artwork I like the most are those pieces that create in me the largest immersive response by pulling me into the world that the artwork makes for us. This is, for example, where the novelist has so much to teach us visual artists. What if I were to propose that Tolkien and Ansel Adams are essentially facing the same creative challenge in different media? |
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| HT2762 - Understanding Fatigue and Exhaustion |
There are times when I try to go photographing in spite of feeling exhausted. It never works. This week is one of those times. I just can't bring myself to get excited about grabbing my camera and getting out there. Worse, I feel guilty about it. As I've thought about this in the torpor of my fatigue, I think I've had a flash of insight about this. |
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| HT2763 - Visual Syncopation |
Structure in a presentation of images can be both good and bad. Structure can provide form and consistency to a presentation. It can also become predictable, repetitious, and boring. This where visual syncopation can come to the rescue. |
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| HT2764 - Archive or Burden |
We spend our life amassing a pile of prints that form our archive. It can also be said that our archive is a burden that our heirs will be responsible for whether or not they want it. We can't take it with us, unless the software engineers figure out a solution to this pesky problem of mortality. Maybe we should be buried with all our art like ancient Egyptian kings, taking all our important possessions with us to the next world. |
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| HT2765 - Way to Go, God |
When does a scene/subject become worthy of making a photograph? After all, we don't just point our cameras at anything, but we pick and choose those scenes or subjects that we think are worthy of capture and processing. Why are those captures worthy? I've asked this question for years in workshops and conversations. The most common reason photographers give for making a photograph boils down to a variation of "Way to go, God!" I love a pretty picture as much as the next person, but certainly there are more reasons to produce a photograph than a pretty scene. |
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HT2766 - From Whence the Inspiration |
There are photographers who prefer not to view the work of other photographers. I understand the concept, but I can't help but wonder what they are missing? Do they also not listen to music, read novels or poetry? Watch films or talk with others? I've always thought of art as a Grand Conversation, a conversation that spans time and space. My art is a response to those from the past as well as those not yet born. One of my most fond photography memories was sitting next to Oliver Gagliani in his living room, listening in silence to Mahler's 4th symphony in its entirety. When the music ended, he pulled out a set of prints that that were inspired by Mahler's music |
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HT2767 - Performative Photography |
I don't think many people would think of photography as a performative art medium. Could it be? What would that look like? The closest thing I can imagine to a performative presentation of photographs would maybe be a slideshow. What about a presentation of images on a large screen TV that could possibly be accompanied by a narration of sorts. A poetry reading while showing images? Come to think of it, what happens when you share a stack of prints with a visitor? Silence? Conversation? A prepared narrative? Could you? Should you? |
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HT2768 - Clouds and No Clouds |
Looking through our archives at all our previous work can uncover some of the most interesting things we might never see otherwise. A while back I had a revelation about clouds. It seems that for unknown and unconscious reasons, when there are beautiful puffy clouds in the sky casting intermittent shadows and sunbeams on the land, I tend to photograph with wide-angle lenses. My grand landscapes almost always include clouds. I wasn't aware of that. Conversely, days that are primarily overcast without shadows I naturally tend to photograph details, close focus work, even macro photography. Am I missing something? Is this a valid strategy or a bad habit? |
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HT2769 - My Favorite Dead Fish Picture |
One of my favorite pictures from 50 years of photography was photographed in a rural village in Japan. Outside the fish market was a little stand that included 60 or 70 herring splayed out to dry. There's shiny bodies were fantastic and led to one of my all-time favorite photographs. I have it hanging in the trailer. I'm about to take it down. Lynn pointed out an obvious fact that I'd never seen in 30 years. IT'S A PICTURE OF DEAD FISH. It will always be a picture of dead fish, regardless of how beautiful the print is, how sensual the tones are, it simply can't be anything other than a picture of dead fish. |
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HT2770 - Yes, Seagulls |
There are some subject clichés that are so cliché they become uber clichés. I would be willing to bet that every one of you have a photograph of a seagull in your archives that you've never shown to anyone because, well, it's a picture of a seagull. Does that mean seagulls are overtly non-photogenic? Or does it mean that they are inherently difficult to photograph without the picture becoming a cliché? I suppose the same could be said for sunsets, dewy spider webs, and kittens playing with yarn. That said, nothing is more cliché than a photograph of a seagull. Which is maybe the best reason to attempt a Seeing in SIXES project of seagulls. |
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HT2771 - Your Work and Ansel Adams |
I've said for a long time now that the most influential attribute of a work of art is the signature of the artist. That is, a very bad Ansel Adams print will be more valuable than our best. Of course, the mental trap in that thought is the equating of fame/value and merit. I would unhesitatingly say that many of your photographs are every bit as good as an Ansel Adams photograph. Your work may never be as famous as an Adams print, but that does not mean it can't have the merit and power to move us profoundly. Perhaps merit is in the eye of the beholder. |
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HT2772 - That Special Travel Feeling |
Why is it that travel seems to precipitate a heighten sense of excitement to photograph that is missing from our home or daily routines? Is it simply that we are trying "to take it all in" while traveling? If so, can we purposely develop that "take it all in" attitude at will? At home? After all, a visitor from some distant land might travel to your home town with that same "take it all in" mind and be fascinated with your everyday experiences. |
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HT2773 - Twelve For Six |
I continue to have all kinds of fun doing Seeing In SIXES projects. I've been doing them long enough now that I'm starting to see certain patterns emerge that help the process. For example, when I try to produce a Seeing In SIXES project I'd better have more than six candidates to choose from. I don't need a hundred, but the editing/selection process is so integral to the format that there have to be extras that help me clarify and intensify the theme. I've come to recognize that the ideal minimum number of candidates for me is 12-16. Knowing this, when I'm in the field I keep shooting until I have at least a dozen that might fit the project. |
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HT2774 - Plein-air Photoshop |
You're familiar with plein air painting, that open air approach to painting at the scene, in the environment, outside the four walls of the painters studio. Why can't we do that? How different would our pictures be if we were to process them at the scene, in Photoshop, with the subject still before us? Normal photo processing takes place elsewhere, from our memory, using the camera's capture which might be years or decades ago. I wouldn't be surprised if someone has actually done plein air Photoshop, but I've never heard of a photographer who did. The closest similarity I can think of might be shooting Polaroids in the field, but I'm wondering about Photoshop, on a laptop, where you can still see the scene before your eyes. |
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HT2775 - A Timed Event |
At the suggestion of a friend years ago, I experimented with photography as a timed event. I was driving through Eastern Oregon and the challenge was to stop every hour on the hour without fail. Wherever I was, I had to get out of the car and make a photograph within 15 minutes. Instead of picking and choosing my photographic locations based on aesthetics or having seen something interesting, I only photographed when the alarm went off telling me the time was now. It turned out to be a fascinating experiment because no matter where I stopped I found an interesting photograph. |
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HT2776 - Cluster Mode Photography |
I interviewed David Hurn (MAGNUM) when we published him in LensWork and was fascinated by his description of Magnum photography. I'll abbreviate his technique: 95% of being out photographing is not photographing. The way he described it was that Magnum photographers spend almost all of their time just looking, observing, being there and being aware. Then, when something of interest happens, out comes the camera for a series of clustered images shot with rapidity before the camera is retired, awaiting the next opportunity. For years I've applied his approach even to landscapes and I believe he had it right |
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HT2777 - Everything Is Symbolic |
One of the things that separates humans from animals is that we think in terms of symbols, culturally defined associations, and abstracts. There is a school of thought from mid-20th century photography that emphasizes photographing "the thing itself." I understand the intent, but it's never made sense to me because it fights the nature of human thinking and emotion. A better approach, I believe, is understanding the importance of symbolism and its role in image making. Maybe we should all read Joseph Campbell again. |
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HT2778 - Photographs Themselves Are Symbols |
Yesterday I was talking about how we think and feel in symbols. Of course the important topic I left out was the fact that photographs themselves are symbols. When we are waiting in the doctor's office and see that beautiful landscape hanging on the wall in the waiting room, we're not actually looking at the landscape but rather at a symbol that represents the landscape. That symbol has an intended purpose, to make us feel better and less stressful about our doctor appointment. All photographs are symbols. If so, wouldn't it make sense that we should study how symbols are made and used? |
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HT2779 - Looking for Solutions, Not Gear |
The other day I was talking about the use of Polaroids in the field and more recently LCD screens to overcome my limitations in seeing two-dimensionally. A podcast listener, Howard Lester, emailed an alternative. His suggestion was more brilliant than I first understood. He suggested just closing one eye. It never occurred to me to look for a solution for this problem that did not involve gear. Why do we always look to gear to solve a problem? |
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HT2780 - Go Ahead, Be Insecure |
If you are fully confident and unquestionably sure of your work, you are probable not taking enough chances. Staying inside your comfort zone does not mean the work is inferior, but it does mean you are not exploring the new. Insecurity is not an attribute to be avoided, but rather a fertile ground where artists receive a nudge from the universe that they are on a productive path. Panic is not artistically healthy, but neither is coasting through the familiar without effort. |
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HT2781 - YouTube Shortcuts |
Whatever happened to learning by doing, learning by trial and error, learning by falling flat on our face? Photographers no longer need to experiment. Whatever you might want to do to make an image, you can learn step-by-step with a YouTube video. That's wrong — you can choose from hundreds of videos! Is this a valuable resource or a thief that is robbing us of the very reason to be an artist? Cole Thompson has proposed the idea of "photographic celibacy." Is there a place for "tutorial celibacy? |
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HT2782 - Of Course Your Family Loves Your Photography |
The first people to see our latest work is probably our spouse, our family, our loved ones. Their encouragement is lovely, but is it trustworthy? I think what most of us want is an honest opinion and useful feedback. The least useful feedback we can ever receive is "I like it." If you want feedback from a loved one, it's best to have a conversation with them about the kinds of feedback that could be useful to you. |
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HT2783 - Removing the Unwanted |
After all these years in photography, I still believe the best advice I ever received was "remove the unnecessary." I've often joked that Ansel Adams' most useful fool was a12-gauge shotgun to remove unwanted tree branches from the scene. I remember in an early Lens-Work workshop I had everyone take a picture that purposely had something they wanted to remove. That was followed by a demonstration on the use of Photoshop's Clone Tool. How quaint. |
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HT2784 - The Virtue of Unknown Roads |
So many photographer I talk to go to known destinations. I don't think it ever occurs to them that the destination is known because so many other photographers have been there before them! The great advantage of going down unknown roads is precisely that you have no idea what you will find there. It's the discovery of the unknown that gives photography its spice. I'd much rather discover some place on my own rather than follow in the footsteps of the herd. |
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HT2785 - The Transition to Art Mind |
One of the greatest challenges of my creative life has been the flip of mind that is required to shift from everyday mind to artmaking mind. They are different and mutually exclusive. I can't, for example, think about my art while paying the monthly bills. These two activities require a completely different way of processing their respective tasks. The art life question is always one of purposely and at will letting go of everyday mind and slipping into art mind. I've tried all kinds of techniques, but still cannot flip a mental switch to bring it about. |
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HT2786 - Distribution On a Budget |
As much as I resist the pragmatics of calculating the cost in production of our art, it is necessary to consider the costs for many of us. This includes not just the production of our work but also the distribution of our work. Wouldn't it be lovely if we could produce 20" prints with abandon and mail them out to everyone we might want to gift a print? If we can't, we can at least devise a means of production and distribution that fits our budget. |
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HT2787 - The Plot Twist, the Dissonant Chord |
Literature and music share a common technique that involves the unexpected surprise. In literature, it's the plot twist. In music, it's the dissonant chord. Try as I might, I can't think of a single example in photography that employees the same idea. How would we introduce the unexpected in a photo project? One color image in a book of black and white? One soft focus image when the rest are all tack sharp? And how would such a startling surprise in a photography project enhance the project? Maybe there's no answer to this, but sometimes asking these kinds of quirky questions opens up unexpected paths in our creative thinking. |
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HT2788 - Two Kinds of Archives |
Here is a self-observation that I'm wondering if others have, too. When I look through my past production and my archives, I find I have two kinds of images. There are those who have worn well over the years about which I'm still excited and proud. And then there are those that have not worn well with the passage of time and find I've become ambivalent about or perhaps even loathe. Isn't it interesting how are opinions change over time? |
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HT2789 - One Place Well |
Travel photography is surely an interesting way to take our camera out into the world. I've done a lot of travel photography and I always enjoy it. But over the years I've learned that there are two distinct approaches to travel photography that are mutually exclusive. The first kind is to constantly be on the move, looking for new locations, traveling miles and miles in a grand search. The other kind, which I've come to favor without a contest, is to establish a base camp somewhere and really work that single location for days or weeks at a time. This latter technique always ends up with better images, more depth. and curiously enough more interesting experiences. |
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