Monday, May 15, 2017

Looking In The Right Places ~


I think sometimes we should let events carry us away. This late Oregon spring has been filled with the kind of events I often use as an excuse to keep me from my writing, so lets see if we can put an end to that right now. But what events they have been; some excellent travel (travel is always excellent), some absolutely wonderful photography walkabouts, a scattering of workshops, even a new printer to become acquainted with (more about that next time). But one event, one small moment -- a brief conversation with a friend, actually -- stands out among all the rest, and it stopped me in my tracks.

The conversation was, of course, about photography. Not the usual nuts-and-bolts about cameras and f-stops, but about something very different. My friend was quite expressive about the joy it gave him, that it was very much a spiritual and meditative experience. It was something far removed than the simple recording of images. My friend was not a professional photographer or artist by any means, but photography nevertheless gives him a connection to a deeply wonderful reality. I was moved by his eloquence and I share his passion. But it was the question that he then posed to me that set my mind ablaze: I'm still shooting with film, he said; do I need to switch to digital?



Wow. No, I said, you don't need to do anything, other than stay on your path. But I could only wonder at what devilish dynamic could have given him that kernel of doubt in the first place. My guess is that there is so little in our media that reinforces that joy and so much that dwells on only those nuts and bolts. Nearly every breath-taking landscape, every gorgeous portrait, is made to illustrate the hardware or software of our craft, or a particular artist who has mastered all that. That's all well and good, but I can see where an untrained amateur, even one with a superbly refined eye, may be lead to self-doubt. And I think it's a pity.

Well, I'm going to do my part. Every walkabout I do, every workshop I conduct, will be expressly to help find that joy. Camera tips? exposure advice? absolutely, but in the service of why more than how. That conversation with my friend helped inspire me, so let me return the favor. Let's celebrate the zen of the moment, regardless of what you shoot with. I'm not sure yet what such a workshop might look like, but I think it could be an event worth the making. You in?

We might get carried away.






















Wednesday, April 19, 2017

An Observant Observer ~


There's no such thing as a passive observer. Physics tells us this, and so does photography. Peeking in on the interactions of subatomic particles affects their progress; the observer becomes part of the action. We know this happens on a human level, too. We pretend we're just "taking pictures" of people, but there's no standing on the outside looking in, passionless and objective. We become the movers and the moved, the seers and the seen, and although the effect on both parties may at times seem minimal and routine, it is, at other times, profoundly moving indeed.

So what brings me to this rambling state of affairs, you may ask? A recent studio session with my friend Jay marked the approach to the end of a year photographing the progress of his transitioning. Last year we were working off-and-on together (I knew him as Jamie then) and could barely wrap my head around the challenge he had set out for himself. Then he asked if would, from time to time, take some pictures to help mark his progress. Hell yes, my friend. Lets do this.

Change that happens in front of our eyes is sometimes hard to detect, but if it's punctuated every month or so in front of a camera it can be quite dramatic. I really wanted to work in the studio to be as consistent in posing and lighting as possible, and this has made the drama of change so visible. There were no gimmicks of lighting and no photoshop wizardry, just an honest attempt to chronicle what I was observing. It's his story after all, not mine.


Photographically it has been a tremendous project, and I can almost make out the interaction of those particles. Their movements -- this life -- has been unfolding before me these past twelve months in ways unpredictable and moving, but stepping in to photograph them has, I'm sure, altered their trajectory in ways large and small. We've bonded closer as friends. I find myself more attuned to the nuance of quiet voices. The challenge to find clarity in the face of overwhelming change is what some people face everyday; all I can do is bring a camera to my eye and try to give it some space.

Subatomic and all.

















Thursday, April 6, 2017

Dr. Science's Color Stuff ~


I have an odd relationship with color. Oh sure, we're friends, but sometimes we place unrealistic demands upon each other. I definitely have something of a split-personality when it comes to color and photography, but I have long since come to embrace the uneasy duality. And I'm not referring to my past analog life where everything was seen with and through black & white film, either.

On the one hand, I am Dr. Science for the clients in my dental photography business. For them, color is a make-or-break deal. They need to see and photograph color with precision and accuracy, and then convey that color information to their dental lab so that they will end up with a product -- a crown, a veneer -- that their patient can wear with satisfaction. No small task, if you ask me.

So when I give my program on the topic of color, the complexities that emerge make it seem like any successful reproduction of color is downright impossible. Truth is, nobody sees color the same way. Women, for example, apparently see a lot more colors than men, and it's not all just an artifact of acculturation. Where they may see canary, dandelion, butterscotch, and lemon, we see ... yellow. And most guys are a bit deficient in blue-green perception compared on average to women -- a fact not lost on me during my many years as a color printer. Those are just a couple examples of the many complexities of seeing and working in color, making my instructions on using digital hardware and software important and oh so relevant. I earn a living off it.


So then, what's on that other hand? Well, it's just me and my zen: a camera and a mindful eye. Color is a suggestion, a starting point, a long walk off a short pier. What it is not is a destination. I'm not always consciously aware of what attracts the camera to my eye; of the many elements that make up an arresting scene, color may or may not be the most compelling. Heck, that's why I often prefer to go shooting on a grey and drizzly day when the role of color is diminished. The only thing I aim to see and photograph with any semblance of precision and accuracy is whatever odd state of mind the image puts me in.

No small task, if you ask me.









Wednesday, March 15, 2017

A Professional Amateur ~


I love a good, loud headline. Gets my attention, which is exactly the point. So I was pleased to open up an online article from Modern Lens Magazine that told me These 7 Bad Habits Scream "Amateur Photographer." Scream, mind you. How's that for an opening act? Apparently, being an amateur is not fit for respectable folk, so I figured it was up to me to do some deconstructing.

Anyway, I'm not sure professional is necessarily the opposite of amateur; both are fluid and somewhat slippery concepts. Neither is an automatic indicator of talent or the lack thereof; it's pretty much a matter of where the 1099's get sent. I know many an amateur creating -- and selling, if they're lucky -- incredible photography. It's just not their day job.



Besides, there are lots of professionals who aren't photographers at all but still have to create good photographic images in their work. For many years now I've been in the business of training dentists and other medical professionals in using digital photography in their practice. Yeah, I know, heck of a niche, right? But their need for precise, color-accurate, accessible photography is as demanding as anyone's, maybe more. They will often apologize to me for being such "amateurs" with their camera, but I assure them: they are professionals of a high order, indeed. Labels be damned, lets just pick up a few new skills.


So what is it about some of those bad habits, anyway? Never looking at the camera manual. Screw that; manuals are for pikers. We don't need no stinkin' manuals. Chimping. Are you kidding? That's why I bought a camera with a big honking screen. Centering the subject. Heck, I really don't pay much attention. Relying on a single memory card. Hey, that's why I paid big bucks for a high-speed, high-capacity one in the first place. Post too many photos. Well, ok, you got me on that one. 

I guess it all comes down to a simple metric: bad habits are bad, good habits are good, but lets not get all hung up on them. Creativity requires risk-taking and letting go. Labels are only self-indentifying, and anyway I'm a lot more interested in a good photograph than a good photographer. 

Although I like hanging out with both.















Thursday, March 2, 2017

Plato's Travelogues, Part 5 ~



February was a great month. As is my usual habit, I spent my birthday month engaging in as much travel -- and its attendant dissipations -- as I can fit into a scant 28 days, 29 if I'm calendrically lucky. A predictably and delightfully rainy trip to northern California capped it off, and of course I'm left to reflect on the fact that my recent trips have all involved a good deal of rain. This, I'm convinced, is a good thing. It makes for better photographs.

But traveling also demands, of me at least, a healthy dose of delayed gratification. Here's what I mean: I rarely travel with my laptop computer, a generously proportioned 15-inch Macbook Pro. Much as I would otherwise like to, I don't upload any of my pictures until well after the event, and this can be any number of days away. Oh sure, I always do some on my iPhone too, and those I can see and mess with right away. That, too, is a good thing, but the ones I take with my camera -- more contemplative, perhaps -- benefit from a cooling-off period.



There are a couple of reasons for this, the first of which has troubled me since I began shooting with a digital camera.  As much as anyone, I love the excitement, the joy, of seeing a beautiful image unfold in the viewfinder and then tripping the shutter. A quick glance at the LCD screen might even reinforce that feeling. But the excitement felt at the moment of exposure is often not the same as that which happens when the image is opened up and sprawled, naked and cold, on the computer screen. One is a Eureka! moment, the other is a "what do I do now?" one. They are inherently disconnected. Better to give them the advantage of time and avoid being unnecessarily disappointed. I'm sure it's a holdover from my film days, which involved the lengthy process of gathering up the exposed rolls and spending a few days developing the negatives before I could even get to the task of printing them. The inherent delay, the forced separation, was integral to the process. Consciously or not, I took advantage of it.


But the other reason, which I've mentioned in passing a couple times before, has to do with re-discovering an old image, as if to see it for the first time all over again. If I go back over images I took weeks or even months before, those initial responses and expectations are long gone. I get to interpret an image I had previously overlooked and will feel excited about it again, but for entirely different reasons having little or nothing to do with the original intent. I find that supremely satisfying, but then, I often feel the same way about Portland coffee or a good IPA. Or rain.

So maybe it's just me.







Thursday, February 16, 2017

Maximally minimal ~


I don't think I've ever enthusiastically embraced the notion that less is more. Not that I'm given to excess, mind you, at least not terribly often. I don't care for images that are cluttered or poorly arranged either, but the thought that empty space could somehow draw out of the viewer a range of emotions was, shall I say, unsupported. I just don't buy it.

And yet, and yet..........

I spent the better part of this week examining just those very minimalist photographs at the urging of a colleague back east, and could hardly draw my eyes away from them. Hengki Koentjoro, for example, is an Indonesian photographer whose work just blew me away (google him.) So I went through my usual gallery sites with a more refined minimalist eye, and came away impressed. A changed man? At my age, no. But one who came to some revelations about what we've been doing -- or should have been doing --all along.


And it only makes sense. After all, if you think about it, photography is more about what you leave out than what you put in. It's always been that way, we just have a hard time reflecting on it because we're usually in such a darn big hurry. When you bring the camera up to your eyes, you pretty much choke off 99% of the universe in the process. That's not a bad thing, of course; it's the very nature of the art. You just have to slow it down a notch.

So the task I set for myself was to go out and shoot with a maximalist heart and a minimalist eye. And no, it wasn't that I was going to purposely take "minimalist" photographs; such an objective will surely send you down the wrong path. I take pictures the way I take pictures, but I tried instead to be consciously aware of the elements around me that I was leaving out, and that, as Frost might say, has made all the difference.


But once again, mes amis, I apologetically leave you in a philosophical lurch. I have no great moral to impart, no important lesson to pass on. It's just me and an observation. I constantly take pictures, every day, everywhere, all the time. Usually I have a camera with me, but not always. After all, I think, the zen of photography is about the quiet spaces: seeing more, talking less.

Obviously haven't mastered that last part.













Thursday, January 26, 2017

A Photography Contrarian ~


I decided a long time ago that I wanted to make my photographs bass-ackwards, and this bears some explanation, as you can imagine. I think it came about when I began to really embrace all things digital, because this made me see things differently from my old darkroom days. A lot differently. And since I'm enjoying myself immensely, I pay little heed to my erstwhile advisors and detractors who came upon this technology from a different angle. Take your own damn pictures! I'm having too much fun.

So let me take you back to those old darkroom days for a little perspective. Despite the usual dissipations attendant to a 20-something neophyte, I was a diligent and disciplined photography student. I took it seriously, and trained under some intensely talented teachers. The lesson brought home by them, ratified by the writings of the ever influential Ansel Adams, was the insistent karma of pre-visualization. Whether in the studio or in the field, each shot was thought out ahead of time (sometimes even diagrammed) to visualize the values, tones, and intent of the photo when realized in the darkroom. It was, as you can tell, pretty much all planned out, and ideally there were no unpleasant surprises. So I ask you: what fun is that?


Don't get me wrong, this was wonderful training and it provided a rich background from which to spring. And spring I did. I began, imperceptibly at first, to turn my meditative gaze outward, and I discovered that my camera and my eyes teamed up to find the things that interested them, and I pretty much went along for the thrill-ride. Maybe it's just in the way I use imaging technology, or maybe it's the tequila, but in either event there's a profound joy -- and, yes, the yang of a little discomfort -- in not knowing exactly where I would end up. Life is like that.


But if you open yourself up to a little post-visualizing, here's what you'll discover: a wealth of infinitely-layered images that open themselves up to you with new surprises every time you visit them. They will entertain you, they will delight, they will talk back with an atittude and they will be profoundly challenging. I think that's the whole point of art anyway, and it's not the sort of thing you can easily plan out ahead of time. Create your own river I say, and then go with the flow.

No telling what you might discover.