ONLY A LIGHT-TIGHT BOX

“He tried to impress upon me that, though a camera is nothing but a tool, it can be (therefore it must be) used for a higher purpose than the meaningless transference of already visible information onto a sheet of paper. Because camera could describe a worker’s vision of his world, like a cello or a paintbrush, or granite block, camera held the capacity for art.”

-Fred Picker- Discussing his experience with the Ansel Adams Workshops.
Zone VI Newsletter, Number 39, June, 1984, p. 5

A camera is just a tool. . . a thing. It is only a light-tight box that holds the lens and film. It is no different than a carpenter’s saw, a painter’s brush, a pianist’s piano, or a sculptor’s mallet and chisel. Any of these tools in the hands of the inexperienced will create little more than noise or a mess. Likewise, in the hands of a beginner, the camera is no more than a thing. In the hands of an experienced photographer is becomes a tool for creating art.

If you want to become a photographic artist the first goal is to become an accomplished master of the equipment. But, how do you get there from here? It starts with ambition and drive. Like any skill, you will only learn, and become a master, if you are dedicated. The mechanics of photography are not difficult to learn. It does take time and determination to get there, but it is not an unachievable task. You just have to have the desire and drive to work through the process of learning how best to use the tools.

Think of when you were a kid and you thought that taking piano lessons was a great thing to do, since some of your friends were already enrolled. Then after a while you get the usual threats from your parents to get in there and practice! You get the customary, we bought you that expensive piano and are paying for lessons, so get to work. Truth is, you really didn’t want to learn the piano in the first place. It was just something you thought would be neat. If you really wanted to learn, your parents would have to be lecturing you about spending too much time with the piano and limiting your keyboard time.

It is that drive. . . that obsession with learning that makes for the great artist. You have to eat, sleep and breathe photography to be really successful. Just a casual interest will lead to little more than a few casual photographs. Or, maybe you are just obsessed with the hardware. Maybe you would be better off collecting and trading equipment. There is always that possibility that the light-tight box is your obsession and not the photograph. Only you can make that determination.

That Light-Tight Box is just the camera. . . a tool to be used in the creation of your art. I hope that you learn to use your tools to your best advantage! Invest your time wisely. Learn the tools of your chosen craft well. Do not stumble around in the dark, it belongs inside the camera.

JB

March 31, 2011 | Categories: Commentary, Photography | Leave A Comment »

THE VIEW OUT MY WINDOW SYNDROME

I have struggled for years to understand the concept of what is visually stimulating. Just exactly what does it take to strike a nerve that leads to the successful completion of an expressive photograph? Specifically, why is it that I cannot easily find something in my immediate environment that I find worthy of photographing? There was a time when I really thought there was something wrong with my perception of my surroundings. Edward Weston said something to the effect that, you should be able to look down at your feet and find something interesting to photograph. Doesn’t always work for me.

The trouble is, I have a difficult time finding anything within my local surroundings that excites me very much. Some of this has to do with the fact that I live on a flat coastal plane at 600 feet above sea level and what I like the most is mountains and snow. I just can’t seem to find barb wire fences to the horizon, hay rolls, or wind mills that interesting.

I used to think this was only a personal mental issue that I alone suffered from, and that I was in some way creatively impaired. I thought that all I needed to do was find some magic somewhere that would allow me to visually connect to what I see every day. There were those times that I was able to find visual stimulation. Such as dense fog, or really interesting clouds, or maybe a rare snow storm. But most of the time I found that I was forcing myself to just get out and that what I created was not something I really cared for. So, why bother?

As I began to associate with other photographers, many living in other areas of the country, what I found was surprising. I met and talked with people that live in some of what I feel are the most visually stimulating places on the earth. To my dismay some of them have no interest whatsoever in even visiting, let alone photographing what I would give near anything to have unlimited access to. I have talked to people that have grown up within a few hours drive of these places and have never visited, let alone ever had even considered to take a look, let alone make a serious photograph of what lay literally in their back yard.

I began to realize that I was not alone when it came to finding inspiration and visual excitement within my immediate environment. I began to think more in terms that this is a normal ‘thing’. . . a ‘syndrome’. . . a ‘phobia’. . . or whatever, that many other suffer from, or in some way deal with, also.

I am a big fan of the late Bill Jay. His writing on photography is classic. I found this excerpt from one of his most popular pieces and it seemed to connect to my thoughts about this perplexing condition;

“. . . in order to photograph with any degree of continuous passion, you must have a fascination for the subject, otherwise you cannot sustain an interest in the act of creation for a long enough period of time in which to make any insightful or original statement about it.” 1

Thank you Bill Jay!

I have now accepted my condition and even dredged up a name for this phenomenon. I call it, “The View Out My Window Syndrome.” There seems to be something about what you have seen every day of your life and how visually exciting that view becomes over your lifetime. At least for some of us, this is some sort of syndrome. The question is, what can you do about it?

I have come to believe that there is little you can do about The View Out My Window Syndrome. . . so you just live with it. Maybe it is more important to accept it and not obsess over something you have little control over. Make it your goal to find and photograph whatever excites you and do not bother with what lay outside your window, especially if it does not excite you!

I started working on this post some time back and have now returned to complete my thoughts. We have had an unusual winter storm here in Texas. We are on the fourth day of cold, ice, and snow. Today we just had another 2-3 inches of new snow. This is the kind of weather we love when we are out in our favorite areas. . . in the mountains or the visually stunning S/W. Yet with all of this nice cold and snow I have little to no interest in dragging a camera out. The back yard is as boring as the back of my hand. I cannot think of any place near by that I would risk driving to that would be visually exciting, even with a gorgeous coating of snow. Maybe if I did get out I could find something, but I really have no inclination to risk being ran over by some idiot driving on ice. When in the mountains or the desert S/W I don’t mind driving 40-50 miles on solid ice to shoot some film. Here, I don’t even want to walk to the mail box. Why? Good question, but this is an example of a bad case of “The View Out My Window Syndrome.”

JB

1 “The Thing Itself; The fundamental principle of photography” First published in Newsletter, Daytona Beach Community College, 1988
http://www.billjayonphotography.com

February 5, 2011 | Categories: Commentary, Photography | Leave A Comment »

WHAT IS IN A NAME?

name [neym] (noun)
1. a word or a combination of words by which a person, place, or thing, a body or class, or any object of thought is designated, called, or known.

What is in a name? Interesting question for sure! There are times that a name has little meaning, other times it can be the key to an empire. Companies spend untold sums of money in the creation of a name for their products. Their chosen names are trademarked and protected by law. Some names are household words and are part of our everyday life. There are times when a name is extremely important.

There is a revolution brewing in the world of photographic art. The digital vs. analog debate is raging on, and at times is near a war rather than a debate. There are people aligned on both sides and most have made their choice. I can say without hesitation that I have made my decision and I plan to stay the course. It matters not what your preference may be as to the photographic medium you choose. The choice is a very personal and serious decision. You need to be comfortable with your selection and dedicated to its use.

The problem is there needs to be a clarification of terms used in photography today. The various forms that photography has taken on in these more modern times has lead to a lot of misunderstanding and confusion. The general public, along with even those in the fine art photography world, have trouble understanding and defining exactly what modern-day photography has become.

There is this grand misnomer that digital is a replacement for film. There was even a wide spread rumor that film was dead. This is nothing but a pure deception. . . little more than a marketing ploy by people in the photo industry that do not have a clue as to what photographic art is about. Do not buy into the farce that film is dead.

But I digress from my original topic. . . now back to the question at hand. What we need is to be more specific about photographic art. Gone are the days that the word photograph was assumed to mean a procedure based on film and the wet process. Photography has branched out into a more complex art form. Digital photography is a new art form, not a replacement. It is a new way of making images. Because of this new medium there is a lot of confusion pertaining to the process. Each medium has its own peculiarities, strengths, and weaknesses. . . each needs a name. We need to be more specific in the description of the imaging process. After much thought, I have defined three areas that encompass photography today.

1. Traditional Photography

This process has numerous subcategories which are all based on an imaging process that uses film, a wet darkroom, and chemical processes from start to finish. Simply, the way photographs were made before the introduction of digital imaging. This also includes the numerous alternative processes that are still practiced today. This is my choice for the creation of all of my photographs, thus for me using film and the 100% wet darkroom process, my finished print on gelatin silver paper, would be identified as a Traditional Silver Gelatin Photograph.

2. Hybrid Photography

This process is new and is comprised of those that mix traditional and digital together. Some choose to shoot film and then use digital means for the finished product. There are also processes that incorporate digital means to produce a negative that is ultimately used for a wet processed product. This is a very popular art form today and it needs its own definition. . . hence, the term Hybrid. For example, if you are a platinum printer that uses digital negatives, your print should be labeled Hybrid Platinum Photograph.

3. Digital Photography

This is pure digital from start to finish. A digital camera is used to capture the image, computers are used for post processing, and a digital printer is used for the finished product. A Digital photograph is 100% digital in its creation from start to finish. If you work in this medium and use an inkjet printer the print should be labeled a Digital Inkjet Photograph.

This is how I choose to define photography in the modern world. There are three distinct categories of imaging and each should be properly defined. It should be obvious as to which art form I practice. From now on when asked, I will say I am a Traditional Photographer and my prints will be labeled Traditional Silver Gelatin Photograph. Just that simple!

This is my choice and has absolutely nothing to do with anything other than it is what I feel correctly reflects the different types of photography. If you have chosen to be a digital photographer and work in that medium, why be ashamed of it? Same if your work is produced by the hybrid method. Why not be proud enough of your chosen medium to accurately define it and not hide behind the general, and now somewhat vague, idiom of Photography? Just keep in mind that none of these three categories are the same and none is a replacement for any of the others. Each is simply its own art form and they all fall under the general category of Photography.

So, what is in a name? What you call something can mean a lot, especially when you are trying to define your craft. What is your choice. . . TRADITIONAL. . . HYBRID. . . DIGITAL. . . or. . . some combination of the above? Doesn’t matter, just define your chosen medium accurately.

JB

October 17, 2010 | Categories: Commentary, Photography | Leave A Comment »