I’m traveling again this week which is unfortunate on a number of levels. I’ve been pursuing a winter tress project over the last couple of years and have been looking forward to extending that project this winter. Unfortunately we’ve had very little snow so far this winter. It looks like that is about to change in spectacular fashion when Juno passes through the area later today and tomorrow.
I truly enjoy looking at other people’s images, mine drive me nuts, other people’s work I enjoy. It doesn’t matter to me whether they are photographs, paintings, drawings or some other way of interpreting the world. I enjoy looking at it all. As I’ve mentioned here before, I do feel as though in some work I’m missing the joke and so I’m working hard to be able to see more, to understand more clearly what was the intent behind the creation of the image.
This of course cuts two ways – it allows me to enter more deeply into the world that creator of the work has established and it also gives me tools to help bring my vision and voice into the world. In thinking about how I look at images – what is the light, how do the lines work, what is the role of color etc. I was reminded of some of the phrases that I’ve heard thrown around when people are both making images and looking at them. Variations on light, lines, moment such as Jay Maisel’s Light, Gesture, Color.
Since I’m easily distracted, with this thread to pull at I disappeared into the internet only to find that Jay Maisel has a new book out ‘Light Gesture and Color‘. I’ve been fascinated with Jay’s ability to find photographs in the most mundane places. After watching some of the videos of him at work such as the one below and looking at the resulting images I always feel that I could try harder.
This is the fluency that I am striving for – to not only be able to take to see and appreciate the image once captured but to see and anticipate the possibilities all around me.
I was pleased to find out recently that the image above ‘After the Storm’ was selected to be included in the on-line annex portion of the Black and White: 2014 exhibition at the Black Box Gallery in Portland. The show opens Friday Sept 5, but images are up on the web now.
This is one of those images that almost never was. There are times when I ‘see’ images that I have to make even though they don’t fit follow the ‘rules’ of photography. In fact, depending on how quick or slow I am there is an internal battle that happens prior to taking the photograph that argues whether this image is interesting and why and whether I should even bother. If I’m fast enough I just take the shot and move on. If I’m too slow, fiddling around with a tripod, getting the right lens etc. there’s time for the doubts to start to take hold. With time, I’ve learned to listen to the doubts, acknowledge them and then take the shot anyway.
The people that I feature in these Friday Inspiration posts are artists whose work I enjoy looking at and so it’s natural that I follow what they doing. I particularly enjoy Thomas Joshua Cooper’s seascapes and was quite pleased to find a longer video of him talking about his atlantic basin project. Check it out below:
While I was looking for videos of Cooper talking about his work I found another video, a conversation facilitated by Roger Wilson between Chris Wainwright & Thomas Joshua Cooper about their work, the journeys that they take and what it is to be an artist. Well worth a look.
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 not sure whether Michael Zide would consider the image above to be his most iconic but it was the image that first caught my attention when I was leafing through a Maine Media Workshops catalog a while ago and then the one that I rediscovered last week. There are a number of things that I like about this image but I think the thing that struck me the most was the combination of ice and the ocean – I really got a sense of the cold when I looked at this image. It was also fun to realize that it was taken at Oak Bluffs on Martha’s Vineyard, one of my favorite places to photograph, and perhaps Michael’s too since he lived there for over 10 years.