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.
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
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.
Sometimes I catch myself and otherwise others give me a helpful prod but if you’re going to use the ‘creative’ moniker then that means, or at least should mean, actually making things rather than thinking and talking about the creative act. I’ll give you that pushing the button and making the image could be the creative act but for me the end product of creative has to be some tangible thing. To keep my feet to this fire I have been using my iPhone more than ever before to play and make images. I’m pairing these experiments with Artifact Uprising’s printing service to make little prints and now books all without leaving the iOS environment.
I was very happy with my little book part one of what I hope will be a four part series, one book of images per quarter, and perhaps a ‘greatest hits’ compilation at the end of the year. And perhaps I will pair the images with a collection of essays that describe the journeys and experiences and maybe make a slipcase to put them all in and, and, you know how it goes. I have to remind myself one step at a time. Small doable chunks.
Around the same time I got my little book I got Magda Biernat’s little book ‘Adrift’. Biernat’s project Adrift begins a dialog about climate change in the pairing of images of icebergs in antarctica with abandoned hunting cabins of the Iñupiat eskimos in the Arctic. The natural and the man made are both adrift in increasing numbers as the poles warm, causing more icebergs to be cast off and the hunting cabins to be abandoned as the animals the subsistence hunters pursue either dwindle in number or their migration patterns change.
What blows me away about the book is how creatively well done it is. There are a number of ‘what if’s’: What if we prepare the book as if it were a Japanese accordion book? What if we have the accompanying essays bound as a separate text block. What if the book opens on the horizontal, bottom to top, rather than the vertical right to left? All of which work and all of which serve to draw me in further.
It’s worth keeping these things in mind when you’re working on your own book projects, perhaps using templates from some of the big on demand publishing services, that you’re getting locking into a standard format. How can you work within that box and yet break it so that you have something that better serves the work and that is uniquely your own. Daniel Milnor photographer at large for Blurb continually is pushing at the edges of what is possible with the Blurb format and is well worth paying attention to as you think about developing your own projects.