I have enjoyed Robert Adams’ writing about photography immensely. ‘Why People Photograph‘ and ‘Beauty in Photography‘ contain a series of short essays covering topics such as collectors, humor, teaching, money and dogs and discussions of Photographers such as Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Dorothea Lange, Ansel Adams, and Minor White. His recent book ‘Art Can Help‘ continues in a similar vein and is well worth picking up.
As a photographer however he’s someone that I feel I should like but his photographs just don’t move me. It was interesting then to come across the two videos below and listen to him talk about what he’s trying to achieve with his work.
Check out the videos below and tell me what you think.
I had a hearty dose of nostalgia when I first came across the work of Paul Hart. I grew up in the north east corner of South Yorkshire, close to the borders of East Yorkshire and North Lincolnshire. The mining village where I lived was surrounded by farm land and so biking out of the village in almost any direction I would see vistas such as the one above.
Paul Hart has published three books of his work – Truncated, Farmed and Drained. Farmed and Drained are the first two books in what will eventually be the Fenland trilogy. Francis Hodgson in the preface to Drained describes his work this way “Paul Hart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of us pass by”.
His images have a special resonance with me. I wouldn’t have thought to stop and take photographs of what for me was the everyday but I wish that I had. The view from our upstairs window used to be across a farmers field, the canal and the river with an odd little house on the bank between the two. I have no idea if the house is still there because the housing estate that has sprung up on the fields obscures the view. Paul’s work reminds me that as photographers we have a duty to photograph our everyday as well as the spectacular scenes.
The Bio on Paul’s webpage tells us that he’s working with ‘cumbersome analogue equipment in and unfashionable area’. I’m personally glad that he is and hope he keeps at it.
Check out more about Paul here and listen to him describe his truncated series below.
We’ve been having an odd winter here in New England – lots of snow over a very short period of time. We’ve had about 80 inches (or ~ 2 m) of snow in the last 20 days with more coming down as I write this. During the last storm I made the misguided decision to head out to photograph in the nearby woods. Misguided because the visibility was poor and the snow plows were not managing to keep up with the snow which made driving interesting. Once at the woods the snow was quite deep even on the normally well trodden paths which made for slow going.
Increasingly I will explore ideas with my iPhone before pursuing them further with my DSLR. A couple of the images from my iPhone are above, I was at least thigh deep in the snow in this part of the woods. As I maneuvered my tripod around in the deep snow I heard a funny creaking noise. At first I thought that was the wind blowing the trees, but there wasn’t any wind. Then I thought it must be someone else out and about, but I could see anyone. Very weird. I picked my tripod up out of the snow to get it into a better position and and two of the tree legs came up, the third stayed in the snow. It had come detached where it joined the metal frame. That was pretty much the end of my photography for the day.
I’m not sure if you can tell from the images above but the carbon fiber leg where it joined the frame had delaminated and was soft. It was also crinkled which explained why the tripod leg did not fully close – there was always just a tiny fraction of leg extended. The metal also looks like it is badly corroded. While I may send this old tripod back to Gitzo I’m not holding my breath that they would be able to help me out.
I do have a new tripod that I’ve been using as a travel tripod – a Really Right Stuff 24L. I may now supplement this with the 34L, a beefier version of the 24L. The 24L to me seems a bit weedy, the lower sections of the legs are particularly thin and make me wonder how solid the tripod can really be. I guess time will tell.
I’m sure that there must be really good uses for the various film emulation software that is available, matching the look of a project that was started in film and transitioned to digital might be one, but for me they are not much more than very expensive presets that let me try out various looks very quickly.
I can’t say that I’m overly sold on the ‘film look’ either but it’s fun to play and occasionally I stumble into something that I like. I think the more that you play with these kinds of tools the more that you’re able to imagine what the possibilities are for processing after the fact.
While I would like to think that I know what a particular lens will do, I’m a long way from this kind of fluency with the myriad of options available for post-processing. Knowing what draws you and and what repels you certainly is one way of narrowing the available options. Restricting your options to a distinct palette of tools is one way to create a signature style. This is something that I’m in the very early stages of working on but I’m having fun thinking about how it all fits together.
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.
I was expecting a relatively intimate workshop (I had been under the impression that it would be 12 people) that would give us all a lot of time with Art and Libby and Jay. It turned out to be a much bigger group, ~30 participants and 4 or 5 additional instructors/assistants. Not that is a bad thing, the staff were all pretty attentive both in the classroom and in the field, although I found it difficult to keep track of peoples names, whether they were with our group or not and whether they were a participant or instructor. We didn’t spend too much time in the classroom because the weather was ‘perfect’ for photography, it was overcast the first day, overcast and rainy the second, but then cleared so that we got broken cloud cover for a sunset at Second beach. Very cool the way the weather worked out perfectly.
One of the reasons that I took the workshop was to get a better sense of photographing in forests and there was no shortage of opportunity to photograph in the forest. Our first stop was Marymere falls and then on to the Sol Duc. Being in dense old growth forest I was overwhelmed by the clutter and so it wasn’t until I was in the Hoh Rainforest the following day that I actually started seeing potential shots. But then however I was battling a couple of technical challenges that I hadn’t expected – it was raining, hello rainforest – which meant that I had to clean off the front element frequently otherwise my shots would be obliterated because of raindrops. The second issue that I was frankly surprised by was fogging. I was using a polarizer to take the sheen off the green and found that the front element would fog under the polarizer and so I had that to contend with too. Most if not all of the shots of the forest I ended up with are marred by one or other of these issues.
While I may not have any photographs from the forest that I liked, I did begin to ‘see’ potential photographs which was a significant step forward for me. I’m looking forward to going back for more!