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.
In my stumble through contemporary landscape photographers I recently found Alec Soth, and particularly his recent photo book ‘Songbook‘ in which he is exploring physical social interactions in a world of social media.
I’m still digging into the rich world of Alec Soth, there’s lots to go at! His self published book ‘Sleeping by the Mississippi‘ caught the attention of the curators of the Whitney Biennial in 2004 and his inclusion in the exhibition launched him on a larger stage. The image above from his ‘Sleeping by the Mississippi’ project was used for the poster for the exhibit. He became a nominee of the Magnum Photos agency in 2004 and a full member in 2008. Since his first book in 2004 he has produced over 20 others, including Songbook, and a number in collaboration with writer Brad Zellar. He founded the publishing company Little Brown Mushroom in 2008 to publish his own books and those of others interested in a similar narrative approach to telling visual stories. A very busy guy!
See Alec talk more about his work in the videos below.
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
It’s starting to feel as though Winter is finally receeding in my neck of the woods. I still have snow in the garden but it’s less and less every day. How about you?
I feel as though I ought to have been out to photograph while we had all the snow and certainly now that the weather is getting better I should be getting out but I’m not. It’s all too easy to stay in bed for an extra hour or to have dinner with the family rather than making the extra effort to get out with the camera. Getting back into the routine of taking time one morning a week to get out with the camera when I’m at home is taking some doing. I’m trying though.
I’ve had my eye on this little stream for a while now with the idea that I would photograph it when there was more water in it. With the recent snow melt the water flow has gone from a trickle to a torrent in a very short space of time. Increasingly I felt that if I didn’t photograph it now I would have a long wait and so I got out with the camera at the end of last week and had a fun hour or two poking around.
Originally I had thought that I would like the reds in the weeds at the top of the image but when I got the image into lightroom didn’t really love it (the color version is below) and so made the switch to black and white. This is still a work in progress, the first stopping point before I reevaluate and decide where to take it next.
As always, thoughts and comments more than welcome.
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.
In many ways this is a companion piece to making things with meaning while at the same time was written as a kick in the pants for me – to have something to remind me that pursuing the things in life that seem to create their own energy to pull you forward is much better than chasing after something in a lackluster fashion. Anyway here goes…
Once you’ve found the thing or things that resonate with you and not only want to photograph but can’t help but photograph it seems like all issues with writers block, resistance or what have you should evaporate.
It doesn’t though does it? Here’s the deal, if you’re struggling with the resistance, writers block or whatever people are calling it this week you’re either working on the wrong thing – something that doesn’t raise you to the level of white hot and passionate and cause you to become an unstoppable force – or you’re thinking too much about the product, the audience and how will this thing that your pouring your soul into be recieved.
In both cases stop right now.
Stop working on things that you aren’t deeply commited to, that don’t pull you forward into action and more action. Time is short you need to put your energy, and I mean all of your energy, into those few things that you are truly passionate about.
I don’t think that there’s a place for audience while you’re creating the work. Shut out the chatter. In fact my experience is that if you’re truly working on the things that you’re passionate about you won’t have space to think about your audience.
You can figure out the role of audience later – in many ways this is a separate creative act. It’s called marketing.
Your goal initially is to make a lot of work and to do that as best as you’re able. Does this mean that everything that you make will be wonderful? Of course not. By cultivating a circle of friends that you trust to give you straightforward feedback on your work you can get a second and third opinions to help sort the wheat from the chaff after the fact. The more you make the better what you make will become. Keep at it, keep making. This is not a theoretical pursuit.