Arno Rafael Minkkinen is a Finnish photographer who has lived in the US since 1951 and currently is a Professor of Art at the University of Massachusetts Lowell. I first came across Arno Rafael Minkkinen’s work through a documentary on PBS. I can’t find this program online but it is worth checking out to watch Arno in action. His photography has a sense of whimsy to it and is often slightly surreal, reminding me a little of Jerry Uelsmann’s work. His photographs are largely self-portraits: A naked Arno (or at least the part you can see is) integrated into the landscape. What is quite interesting to me is that all of his images are captured in camera on a single frame of film. No digital hanky panky here! In looking at his work I find myself trying to work out the ‘trick’ to how he pulled it off. His camera has a cable release and a 9 second timer, which allows him to get in position before tripping the shutter and throwing the cable release out of the frame. Even so, some still leave me wondering.
Check out the video at this link to hear Arno talking about his work.
I’m often sucked into the vortex that is lusting after new gear. While there is something to be said for the improvements in technology i’m more often that not thinking about larger format cameras – Hasselblad 503C and the Linhof Techno. While thinking about these I entertain the notion of a digital back but in reality I’m thinking about what people have created with these and similar cameras using film.
It took a while but it finally dawned on me that what I’m hankering after is not necessarily the gear but the look that is created. The look of course is in part gear dependent since each of these cameras has a unique mechanism, good but different lenses, that I’m sure but can’t prove to you today that have a unique look to them, and then of course there’s the film that imparts a certain look too. Camera body, lens and film all give a distinctive look as do the choices made after capture, the choices made during development of chemistry and paper.
For a while most of the images that I shot with my iPhone were processed to give a ‘lomography look’ to them and I did entertain for a while getting a loom film camera but at the same time thought that I ought to be able to create that look digitally with the camera that I already have. More recently I’ve been taking gritty black and white images with my iPhone and again felt that I ought to be able to achieve a similar effect with the DSLR that I already have. The image above is a first attempt. I’d be interested in your thoughts. I’m chasing the look, just with the tools that I already have to hand.
I’m intrigued by Thomas Joshua Cooper’s work, made with a 100 year old field camera, particularly that which documents the atlantic basin. In this project Cooper is charting the extremities of the land and islands that surround the Atlantic Ocean. As I understand it each photograph begins as a location that he finds on a map, this is then further researched before the trip which because of the typically remote location often involves difficult journeys by air, sea and land. Once on site Cooper makes only one photograph, the product of a lot of gazing and waiting.
Some of this work is captured in his book ‘True‘ that I’m now waiting for to arrive.
Check out the video of Thomas Joshua Cooper below:
Sarah Moon’s name came up in conversation this week as a photographer to take a deeper look at. At the time the name was unfamiliar and it wasn’t until I saw the video below that I realized that I had been down this road before. All too often it takes couple of times to internalize and connect the name and the work. Sarah Moon lives and works in Paris, and is one of the great icons of fashion photography. While her work falls under the umbrella of fashion it’s not the slick, glossy, over produced fashion work that immediately comes to m mind. Instead, much of her work is black and white (I haven’t been able to find much of her work in color at all) that has an ethereal quality to it. Captivating. I don’t know the original source of the video below but I do hope that this is narrated by Sarah Moon herself. It gives a real insight into the mind of the photographer as they go through the process of finding the image.
I recently came across the photography of Douglas Ethridge. The first image of his that caught my attention was one from the same series as the example I posted above, featured in an interview with him in F-Stop Magazine. There’s more to Douglas than just these images of water, his black and white work is equally stunning. Check out all of his portfolio’s here and my favorite black and white set, Waypoints, here.
Finally check out the video of Douglas discussing his work below.
I first became aware of Hiroshi Sugimoto’s work when U2 selected his photo for their ‘No Line on the Horizon‘ CD. I am fascinated by his seascape work and beginning to explore some of his other work. He talks about this work below:
There is more information available on the Art21 website here.