Back when the weather turns for the worse.
I have been thinking about a framework that I can use as scaffolding for my on-going and future projects. In other areas of my life I have found that having a flexible road map for what you’re working on to be enormously helpful in actually getting projects out of the door. As part of this process I have been deconstructing some of the basic assumptions that have served me well up to now and trying to reassemble them. Unfortunately I have parts left over which means either I’ve found a better way or broken something.
I started with vision, which I had interpreted as the way that you see the world. Looking at a dictionary definition of vision I found that vision was described as:
- the faculty or state of being able to see.
- the ability to think about or plan the future with imagination or wisdom.
- mental image of what the future will or could be like.
Or to put it another way vision is the change that you want to cause to happen. For instance it could be telling the story and raising awareness of a disenfranchised group of society, shining a spotlight on the growing crisis of climate change, or mobilizing people to stop using the ocean as a dumping ground.
Vision therefore is not really unique, I know there are many others that are concerned about the state of the oceans and share the vision of clean oceans that will be able to support a diverse population of marine life. How you express that vision and work to effect change most certainly could, and should be, if you draw on and incorporate the experiences that have shaped you.
After running through a string a contemporary landscape photographers in recent weeks I could help but recognize that all of these were guys which made me wonder who were the women active in this genre. It was then that I remembered the fabulous book by Victoria Sambunaris, ‘Taxonomy of a Landscape‘ that I had recently came across. The book documents a decade long exploration of the American landscape and our place in it. In fact it’s two books, the companion volume collects the associated research materials and other bits and pieces that Sambunaris accumulated during the course of the project. A fascinating behind the scenes look into her process.
For more information on Sambunaris and her projects check out the video here and the embeded video below.
Growing up I spent an awful lot of time at the pool and it looks as though I’m going to be doing so again, although not in the water this time.
While sat watching my kids do laps I wondered whether I could use the time to develop a project, one that goes beyond the snapshots of the kids at the pool. It’s fun to start these projects, I find finishing them much harder.
In my stumble through contemporary landscape photographers I recently found Alec Soth, and particularly his recent photo book ‘Songbook‘ in which he is exploring physical social interactions in a world of social media.
I’m still digging into the rich world of Alec Soth, there’s lots to go at! His self published book ‘Sleeping by the Mississippi‘ caught the attention of the curators of the Whitney Biennial in 2004 and his inclusion in the exhibition launched him on a larger stage. The image above from his ‘Sleeping by the Mississippi’ project was used for the poster for the exhibit. He became a nominee of the Magnum Photos agency in 2004 and a full member in 2008. Since his first book in 2004 he has produced over 20 others, including Songbook, and a number in collaboration with writer Brad Zellar. He founded the publishing company Little Brown Mushroom in 2008 to publish his own books and those of others interested in a similar narrative approach to telling visual stories. A very busy guy!
See Alec talk more about his work in the videos below.
I am just about moved into my new office which while exciting means that I have piles of magazines and books that I have to sort through, organize and get on bookshelves in a semi-logical order. It’s more work than I would like it to be and also means that in the interim I have to hunt for books that I need for reference.
I was recently looking, unsuccessfully I might add, for some books on alternate processes when I came across Terry Barret’s ‘Criticizing Photographs’. I’ve read and reread ‘Criticizing Photographs’ multiple times over the years and struggled each time. I feel that it’s not that complicated and yet continue to struggle. On this visit I found an interesting equation buried in one of the chapters:
Meaning = Subject Matter + Medium + Form + Context
While I’m not going to argue whether this is right or wrong it’s useful to occasionally stop and think about how the choices that we make as photographers influence what we’re trying to say with our photographs. There are a couple of takeaways for me from this that mostly relate to context and medium that I want to dig at a little here.
By my own estimation much of the photography that I deliberately look at is in that collected in books. While this should have rung some bells for me it took the above equation for me to realize that the way that we present our work will have a significant impact whether we fully realize our intent for it. A single image from a series may work just fine but may not have the impact if it were seen as part of the larger project presented in a book. It also struck me that regardless of how you arrange images for a gallery show there’s still not the same strong physical connection between images that can be achieved by placing images on facing pages in a book. It’s not necessarily better, just different and certainly worth paying attention to as you’re developing projects.
The message is in the medium or not. Perhaps as much or more than most I can get sucked into the technical aspects of photography and forget that you’re supposed to actually be saying something. At the end of last year I took a brief detour into the world of photogravure. Even though I had read Brooks Jensen’s piece on testing the quality of inkjet prints against traditional photographic prints including photogravure the tactile experience I had with the Norman Ackroyd print I had recently acquired drew me on. That and the fact that what I knew about photogravure seemed to me to be ‘real’ printing and involved an element of craft that I had come to believe that making an inkjet printing lacks. I even went as far as meeting with a local expert to discuss how my photographs would translate to photogravures – her answer they wouldn’t. Too much open white space. The nagging feeling that I was chasing a gimmick pushed me to abandon the idea and focus on finishing something – any of the various things that I’ve started would be a good idea right about now. I wonder how many other people get sucked into a similar technology vortex, chasing something that doesn’t necessarily add to what they are trying to say.
I’d be delighted to hear what you have to say – add your voice to the conversation in the comments
If you’ve been following this blog for a while you may have realized that I’m deeply interested in Japanese culture and arts. Even so, I generally don’t consciously seek out Japan focused activities but they do have a tendency to jump out at me. Over the weekend I realized that there are a number of exhibitions and seminars going on at the moment that it would be worth capturing them for anyone else who’s interested.
The headliner of these events has to be the Hokusai exhibition at the MFA in Boston that runs until August 9. Even before I started learning more about Japanese arts I recognized ‘The Wave’ shown above. This exhibition promises to be a comprehensive look at Hokusai’s work from his 20s through his 80s. Check out the MFA blurb on the exhibition here. There is a corresponding exhibition catalog that would be worth a look even if you’re not able to get to the exhibition.
Also at the MFA is the exhibition ‘In the Wake’ which presents the photographic response of 17 Japanese photographers to the Great East Japan Earthquake and the resulting enormous wave of water swept through towns in the Tōhoku (Northeast) region destroying virtually everything in its path including the Fukushima nuclear power plant. The exhibition catalog can be found here.
Finally at the MFA, ‘Playing with Paper’ in gallery 278A looks like it will be fun. This is an exhibition of woodblock ‘toy prints’ that shows how the 19 th century Japanese toys and games were enjoyed.
In New York of Friday and Saturday of this week there is a symposium: ‘Shashin Symposium: Photography from Japan’ that looks to have a good program. Of course the popup bookshop caught my eye – it would be worth going just to get an advance copy of Yoshihiko Ueda’s retrospective photo book “A Life With Camera”.
Also in New York is the exhibition “Life of Cats: Selections from the Hiraki Ukiyo-e Collection” which runs until June 7.
It’s starting to feel as though Winter is finally receeding in my neck of the woods. I still have snow in the garden but it’s less and less every day. How about you?
I feel as though I ought to have been out to photograph while we had all the snow and certainly now that the weather is getting better I should be getting out but I’m not. It’s all too easy to stay in bed for an extra hour or to have dinner with the family rather than making the extra effort to get out with the camera. Getting back into the routine of taking time one morning a week to get out with the camera when I’m at home is taking some doing. I’m trying though.
I’ve had my eye on this little stream for a while now with the idea that I would photograph it when there was more water in it. With the recent snow melt the water flow has gone from a trickle to a torrent in a very short space of time. Increasingly I felt that if I didn’t photograph it now I would have a long wait and so I got out with the camera at the end of last week and had a fun hour or two poking around.
Originally I had thought that I would like the reds in the weeds at the top of the image but when I got the image into lightroom didn’t really love it (the color version is below) and so made the switch to black and white. This is still a work in progress, the first stopping point before I reevaluate and decide where to take it next.
As always, thoughts and comments more than welcome.
I am continuing to enjoy hopscotching through ‘contemporary’ photographers, spending some time in the last week looking at the work of Richard Misrach. Until recently my exposure to Misrach’s work had been the image above and few others in this series. This series of images are striking but I didn’t dig deeper into the origins of this work something which Misrach gets into in the video below.
I have yet to deeply explore the work that Misrach is perhaps most well know for – his on-going project called ‘Desert Cantos’, photographs of the deserts of the american west – spending more time looking at his work associated with hurricane Katrina and of what he calls ‘cancer alley’. These two projects resulted in the books ‘Destroy this memory‘ and ‘Petrochemical America‘.
While it could be argued that all of his work deals with man’s rather complex relationship with the environment the Petrochemical America project really struck home for me. Will we ever put long term sustainability before short term gains? I’m going to continue digging into Misrach’s work. For now watch Richard Misrach talk about his work in the videos below.
I’m continuing to dig deeper into the work of some of the photographers that were part of the New Topographics exhibition curated by William Jenkins in 1975. These were a group of photographers working to find ‘beauty in the banal’, making ‘photographs of a man-altered landscape’. In many ways it’s easy to dismiss this work as having a ‘snap-shot’ aesthetic and for some of this work I really struggle to connect with it. This week’s project has been Stephen Shore. If you read his biography one of the first things that is pointed out is that he sold his first photographs at age 14 to Alfred Steiglitz and that at 24 was only the second living photographer to have a solo show at the MoMA.
His work in the New Topographics exhibition was in color whereas the other 7 photographers were shooting in black and white. It’s interesting to reflect on the fact that at that time in the early ’70’s shooting in color was not what you did if you wanted to be taken seriously as an artist. Color was okay for magazines but not for ‘art’. Perhaps this further adds to the sense of these photographs being snapshots. In looking over this work and some of the subsequent work that arose out of these early projects I can’t help but think that this would be a great instagram feed and indeed you can find Stephen Shore on Instagram although I was surprised to find that I don’t connect with these photographs in the way that I do with the images in his books.
I often feel like I’m missing the joke when I look at contemporary photography and so it’s been useful for me to listen to Shore talk about his work in the videos below and lift the veil, at least a little.