Yes, Photography is Art!

 

When I completed the book "Another Way of Telling," I immediately picked up the Aperture Masters of Photography book, "Alfred Stieglitz" and read the essay by Dorothy Norman. For Stieglitz, a photograph reflects what "one truly and most sacredly experiences oneself." He fought beginning in the 1880's for the stature of photography as an art form, a means of "expression to be respected in its own right, on the same basis as any other art form."


And speaking in the 1930's yet even more poignant for today's photographer, Alfred said that "Personally, I like my photographs straight, unmanipulated, devoid of all tricks ... But should any one want to go to his own particular photographic hell in his own particular way - manipulated, hybrid or whatever - I say, "Got to it. But go to it for all you are worth, the harder the better, insisting on your right of way without necessarily disregarding all traffic lights. And if you must disregard even those, I say: 'Go ahead full speed!'

Journey On!

Is Photography Art?

I just finished reading a provocative book by John Berger and Jean Mohr entitled "Another Way of Telling." Through several essays and several hundred photographs (mostly by Jean, augments by other photographers including Andre Kertesz), the author (John) and photographer (Jean) discuss photography as "fact" and limitations and ambiguities of photos. A very philosophical read so say the least. The section that caught my eye the most deals with photography as art.  Paul Strand thought of himself as an artist. Bruce Davidson thought his photos do no "pose as art." John Berger himself states that he does not consider photography as art, but rather "quote from appearances."

Personally, I do view photography as an art form and that I am an artist.  Now, does that mean that all 100 million photos taken in the average day are all art?  Well, no.  But when taken purposely, using one's vision, coupled with technical skills learned over time, a photograph becomes more than a snapshot, but becomes a creation of the photographer, the artist. The most powerful photographs, be it of a landscape or a person, convey emotion. This can be the f64 stillness of Yosemite or the blur of a peasant girl running beside a train in Indonesia hoping for something to change in her life (see Jean's photograph of pages 73-74 of the book this photo that will stick in my mind for a long time). The photographer conveys the emotion - conservation, concern for others, happiness, solitude, joy, sadness, love, hate, peace.  And if that's not art, well ...

Cropping (and Compositional) Techniques

While I don't use or even check my Twitter feed very often, I did come across a posting from Andrew Childress this past week that was intriguing. It discusses the use of Adobe Lightroom in cropping photographs.  In doing so, Andrew discusses some fundamental components of composition as well, which can/should be applied in making the original photograph. 

Check it out:
http://photo.tutsplus.com/articles/composition-articles/using-lightroom-to-explore-photographic-geometry/

No Caption Needed

OK, it might not be the best photo I've ever taken - at least I hope not!  But every time I run across it in my photo files, I can't help but smile and laugh.  The photo was taken at the Portland Saturday Market.  Makes you hungry, right?  Well, maybe not.

And you think YOU make mistakes

I attended a workshop two years ago in Cusco, Peru, with Daniel Milnor as one of the leaders. His blog, smogranch, is always of interest.  But his latest entry, on mistakes made, is one of his best. And unless you've made your share of photographic mistakes (let's not even get started on mistakes in life!), you're not trying hard enough!

http://www.smogranch.com/2012/11/19/failure-as-friend/

Insight

Richard Lacayo, in a Time Magazine essay on a photography exhibit on War, made a particularly insightful point: "...even in a world that contains too many pictures, pictures of war, the best ones, still have the power to stir your emotions." With cameras everywhere and photographs being taken incessantly, there is still a power in an iconic image. It has never been the quantity of photographs that count, but the quality.  Ever more so now.  There is constant change in our lives and in our surrounding universe and always the opportunity to create a powerful image.    

http://lightbox.time.com/2012/11/19/this-means-war-a-look-at-conflict-photography/#1

Decisive Moment

Henri Cartier-Bresson is credited with coining the term "decisive moment." "I suddenly understood that a photograph could fix eternity in an instant." The challenge that photographers face is being ready for that decisive moment and following through - taking the photograph at just the right moment. 

The women were walking down a side lane toward me, approaching the sacred Lake Pushkar. Ranging in age from pre-teens to grandmothers, for some, many, most, it would be there first journey to the Lake, second only in holiness to the Ganges, corresponding to the November full moon.  I could see that there may be a photograph and quickly positioned myself head-on.  And just as I got ready to take my first shot, Lake Pushkar came into their view.  Their expressions say it all -reverence, awe, and excitement - the decisive moment.  Did I know that their expressions would take on such meaning?  No.  But I was ready for whatever came. 

And, honestly, I didn't know what I had frozen in time for quite some time.  The photograph was not shot as a panorama.  It was not until much later that, as I kept coming back to the photo, I really mentally zoomed in on the image and their expressions - and cropped the photo into the resulting panorama, focusing on the women's faces. It has subsequently become one of my favorite images - full of meaning and having the ability to convey meaning. 

New Chihuly Museum - A Photographer's Dream

I was a sceptic when it was announced that a museum dedicated to the work of Dale Chihuly, the master glass artist, would be built in the shadow of Seattle's Space Needle. While I had enjoyed photographing within the Museum of Glass in downtown Tacoma, I had now particular intention of visiting the Chihuly Museum in Seattle which opened this past summer. But a perceptive friend invited me along for a photographic adventure.  And am I glad!  As I recall, there are seven interior rooms, each with a motif or theme, followed by a glass-enclosed atrium and then an outdoor glass garden. And each room and space has photo opportunities galore. 

   



This photo was taken in the first room, made up of tall glass tubes of varying colors. Fascinating and photo-worthy in itself, I experimented with zooming the lens at a slower shutter speed to obtain this color abstract.  The photo that follows was taken in the glass atrium with glass flowers hanging from the ceiling and framing the iconic Space Needle that seemingly looms overhead.  In three hours or so, I shot 200+ photographs and could definitely go back another time and obtain different images and just enjoying the artistry of Dale Chihuly and his artistic associates.  Check it out!



 



Zero In on Subject

Our eyes zero in on subjects without us really know it.  Its only when we take a photograph that we see all of the extraneous material that our "eye" did not see but our camera lens DID!  Sometimes it takes a while to fully comprehend what the subject is.  Or, just maybe, there are several ways of presenting the same subject - one in a more "environmental" setting and one that is close-cropped, centering on the "real" image. 

One of my favorite photographs from last fall's journey to Rajasthan and the Pushkar Mela was of a young girl, perhaps 10 years of age - though looking more wizened than that.  The daughter of itinerant salespeople, she naturally composed herself for this first image. The "environmental portrait" included the tools of the family trade and the jumbled surroundings of sand and litter.  And those "Raj Girl Eyes" always have drawn me in. 

Recently, in looking at the photo again, I realized that there was a second image - and I think a stronger one - that zooms in on the face and the eyes. The wizened beyond years look is more pronounced because our eyes are now longer distracted by the surroundings, but can zero in on the face. Both images are, in my humble opinion, wonderful.  Each has its place. And as you review and edit and view and edit some more, look at options to more tightly zoom in the the "meaning" and "subject" of your photographs. 



More Than an Observer - Witnessing

With a camera separating our eyes (and body) from the subject, its often easy to be a dispassionate observer of our world. Yet there are times when we become engaged not just in the creation of a photograph, but in the setting or event that we are witnessing.

Photographer Ed Kashi wrote the following about a funeral that he was photographing in a small Romanian village: "I broke down in the church, thinking of how beautifully this man's death was being witnessed. The tenderness, ritual and attention to detail (all the pallbearers had cellophane wrapped new shirts pinned to them as an alm from the family). ... We at least try to create a memory and belief that these acts will make sense and give meaning to it all." (PND News, August 2012)

Maybe when we photograph the Grand Canyon we are merely observers; but when we photograph a human interaction, be it a dance, a or child's music recital, or, yes, even a funeral, we become a formal witness to life. 

Artist Statement

If you are fortunate enough to have your photographs displayed at a gallery on in a magazine (print or on-line), you will likely be asked to include an "Artist's Statement." This involves writing down your photographic goals, either specific to the show or a more general overview of your photographic intent. My "official" version is four paragraphs in length (www.chuckkirchner.zenfolio.com - About) but boils down to two sentences at it's essence:

Chuck’s photographs have the ability to capture the season, the sensations, the memories and, most importantly, the spirit of place and of life. The tools of the trade involve technical acumen, artistic vision, patience, good timing, and, of course, a bit (or lot) of serendipity.

In the July 2012 edition of Photo District News (PDN), several "outstanding and undiscovered fine-art photographers" are featured, each with a brief statement that are generally to the point. While I won't go into the photographer's names, quotes range from

When these items are rendered in a traditional black-and-white format, the information that remains is merely an abstraction of its previous form.

to 

These are not real photographs of real things.

to

When capturing the still recordable milieu I am examining the parallel of a general tendency and personal stories: as resilient humanity condensing into symbolic destinies takes shape in the face of mortality. 

I personally find the last one to be something I might expect from an academic or a critic from a major newspaper, rather than from a photographer.  I believe that we, as artists, need to be accessible to our viewers, and that includes our written word.

Authenticity

There are those who feel that we should travel in certain ways - connecting with the locals - seeing certain sights - eating at certain "local" places. While I'm certainly one who wants to explore the cultures of the places I travel to and through, I really don't feel compelled to follow someone's dictates as to what constitutes the right way to travel. 

Gideon Lewis-Kraus book, "A Sense of Direction: Pilgrimage for the Restless and the Hopeful,"  relates stories about pilgrimages and the reasons why some of us do them these days. And the question becomes, if not done for the original reason (usually spiritual or religious), "is it still authentic?" And Gideon has a really noteworthy response: 

"My own feeling about authenticity is that we're all best off when we don't worry about it too much and just get on with the business of trying to travel in ways that feel meaningful to us, for whatever reason."

Know why you're traveling and make the journey your own - how more authentic and meaningful an experience can you ask for!

BTW, Gideon is interviewed on his pilgramage experiences on the WorldHum website: http://tinyurl.com/congnzz. 

Why Travel?!

Why travel? Because the world is out there - full of sights and sounds and people and cultures and landscapes. The travel experience presents new ideas and opportunities to understand and to be receptive to other cultures - whether of another state, region or country. It's also a great way to spend quality time with family or friends, to get away from everything and everyone, meet other people or just mellow out. Travel provides a chance to rekindle a romance, start a new one, or check out if you're really compatible! And, of course, there are airline and train seats that would otherwise go unused every day. Why Travel?  Because!

From the Introduction to "Journey On! Taking Your Travel Experience to the Next Level." Available from The Traveler, Bainbridge Island; Wide World Books, Seattle; your local bookseller, or through Amazon.com (http://tinyurl.com/c65bega).

Photography Tours

I'm generally not one to take organized tours. Whether I travel alone or with my family, I usually do all of the trip planning (with their input of course!), finding hotels, making air and car rental reservations, etc. But there is one exception - and that's the photography tour. I've been on four such out-of-the-country tours over the years.

•  Nevada Wier - Bhutan
•  Daniel Milnor/Adam Weintraub - Peru
•  Douglas Beasley - Guatemala
•  Deriusz Klemens - India

Could I have done these on my own?  Well, in three cases, probably. Bhutan is the exception (while independent travel is theoretically possible, the governmental requirements are such that practically everyone visits as part of a tour group). But by traveling with a group of photographers, led by a professional photographer (with local logistical assistance), you gain so much.  First, you get to hang out with the pros and with like-minded photographers and travelers. Second, the leaders know what time of day to be where and often the local assistants can arrange special access, etc.  Third, you live and breathe photography (and travel) for the length of the tour. Fourth, the interaction with the rest of the group actually improves your photography as well.  Many of my best photographs have come from these tours.  Now, admittedly, its really hard to go too-wrong in Bhutan, Peru, Guatemala and India - especially India.

What to look for in a photo tour:
1. Do you like the photographic style of the group leader? Always check the photographer's website and ask yourself: "Do I like their work? Can I learn something from their style?"

2. Are spouses or partners encouraged?  (In only one of the 4 tours above were some spouses along - and it was a definite drawback in that they had only passing interest in photography. They also made, in my opinion, wind-down and meal times less interesting, less focused on photography.)

3. How big a group? Photo tours can have anywhere from 2-48 members from what I can tell.  Again, in the case of the four I've been on, the participant numbers (sans instructors) were 2, 5, 6 and 18. The three smaller groups were definitely more interactive than the larger group, though I will give the leader of that group credit for really interacting with everyone, especially the photographers in the group (this was also the tour with a number of spouses along). I'm still in touch with folks in the 2, 5 and 6 person groups; not the 18 person group, other than the instructor. 

4. Am I getting value for the money?  When I booked the India tour (Rajasthan including the Pushkar Camel Fair), I had the choice of about 1/2 dozen photography tours offered by different photographers with tours ranging from $4K to $8K. I knew where in India I wanted to go and tried to match it as closely as possible. And my real desire was to spend a 5-7 days in Pushkar, which narrowed the choice down to 2! I also wanted to stay in local-style hotels and guest houses than 4* and 5* accommodations.

These are all considerations in matching your interests, your preferences and your wallet to the right tour.  And, in reality, I think its hard to go too wrong when you're traveling with photographers who are also travelers!

One Way to Make Subjects "Pop"

During a visit to Wales, I attended the Llangollen International Musical Eisteddfod, an engaging event focused on music and dance. As with many such festivals, getting the right angle for a photograph is difficult, especially when dealing with the background. One of the dance performances featured a whirling dervish, all clad in white. The beautiful trance-induced movement was mesmerizing. And, as a photographer, I want to get "just the right shot."    

My favorite image was this one, with the "whirling skirt" in motion, forward facing and nice hand gesture. But then there's the background. The stage was surrounding on all four sides by viewers and folks in constant movement (just like the Dervish). The gentleman in red was a particular distraction photographically. While I use Adobe Lightroom for 99.9% of my edits and adjustments, this was clearly a case where something more would be needed. There are techniques in Photoshop to totally strip away the background. But, to me, that seems a bit dishonest - he was performing (which is not a word I like to associate with the Whirling Dervishes since they make it clear that its really a religious experience for them) in front of a crowd.

So I utilized a different Photoshop technique - changing the background to black and white and then reducing the background's brightness and saturation. Using layers and lassos is not a quick process,  but worth it in this instance.

The viewers are still there - so the setting is real - but now the Dervish visually "pops" out. The only remaining color are his hands and conical felt hat. This, by the way, explains the need to tone down the background, not just convert it to black and white.

Twenty Questions

John Paul Caponigro, a fine art and digital image photographer/workshop leader, has asked a number of famous photographs to answer a series of questions.  I thought I would take the same list and answer many of the core questions myself.  You can see JPC's Q+A sessions at:
http://www.johnpaulcaponigro.com/lib/q-and-a/index.php

What's the best thing about photography?

Rendering an emotion in two dimensions.

What's the worst thing about photography?

Taking and editing hundreds if not thousands of shots to find just the right ones - the ones the convey meaning, emotion and technical skill.

What's the thing that interests you most about photography?

The relative simplicity of the medium - mostly visual rather than technical.

What's the thing that interests you most about your own photographs?

How I've gone from f64 sharpness to fluidity and motion and emotion.

What's the thing that interests you most about other people's photographs?

Nearly the same place, nearly the same time, totally different images.

Who were your early photographic influences?

Ansel Adams, Ernest Haas.

Who are your photographic influences now?

Doug Beasley, Nevada Wier, John Paul Caponigro, Joel Meyerowitz

Who were your early non-photographic influences?

My dad (a violinist), Picasso, Bach, Monet

Who are your non-photographic influences now?

Artist friends, Arvo Part, pipe organs, religious rituals, all things Celtic, the Tango (music and dance), and still Monet (Water Lillies).

What's the most inspiring work of art you saw recently?

A series of ocean horizon shots appearing in National Geographic magazine. So unlike NG. And a photo spread on Cate Blachett in the NY Times Style Magazine. So unlike ME.

What's the best thing about gear?

Amazing options for turning one's vision into reality.

What's the worst thing about gear?

Too many options, buttons and dials for turning one's vision into reality.

How do you know when an image doesn't work?

Bland, no connection, boring, "next photo please"

How do you know when an image is good?

A quick smile, expectations met

How do you know when an image is great?

I shot that?!?!?  A gut feel - several times over - that this is something special, different, worthy.

Do you practice another art form? (If so, which?)

Writing, concertina, keyboards and occasionally the hammered dulcimer.

What benefits do you get from (this/these) other art form/s?

Writing - thoughts; playing music - muscle memory, relaxation, spacing out

What was the most significant visual moment in your life?

An hour or two spent in the remodeled Orangerie in Paris, gazing at Monet's Water Lilies - perfection in art and perfection in interior architecture - visually stunning, yet contemplative, moving. And a great venue for creative photography as well.

Which was the most important image to you that got away?

Recently in Jaipur, India, at the Amber Fort.  A young woman, perfect light, split second decisions, and out-of-focus images where they needed to be tac-sharp.  Too many buttons and settings.  Oh, well, I still remember her and the setting and the light.

What accomplishment are you most proud of?
Leading photography workshops for adults and children - passing on knowledge and learning from others.

What's the thing you most hope to accomplish?

Inspiring others - whether photographically or in life.

If you had to do it all over again, what would you change?

Given that we are the sum of our experiences, I probably wouldn't change much. Well, maybe discovering sushi and razor clams earlier in life!

If you had another life to live a completely different life, what would you choose to do?

A photography instructor and travel photo group leader; maybe as an Episcopal (married) Jesuit!

The Emotions of Photography

I've been doing a broad look at my photographs stored in Lightroom today and noticed every now and then that a quick smile would come across my face.  A photo taken as long as a decade ago would trigger that smile - a place, a person, a sunset, a scene that brings back great memories. The photo might not be the greatest in the world or even in my world but that doesn't matter.  Not all photos - or even most - are destined for the wall or a blog.  They're just there for the memories - and is there anything better?