It’s no secret that Hasselblad has been in much financial trouble lately. And it’s also no secret that the company appears to have lost its direction following a large number of private equity CEOs, who frankly, appear not to understand the photography market at all. So it was with some surprise that I opened my email getting off the plane home from London to find that not only had they made an interesting product, but one that hinted at a return to common sense and a somewhat brighter future, too.
We almost always discuss composition and framing in terms of putting things in to the frame: on further contemplation, I don’t think that’s correct or accurate at all. The act of composition is in fact the complete opposite. And embracing that can lead to some surprising shifts and improvements in one’s compositions.
A few weeks ago, I made my little directorial debut in the form of a TV commercial for Nissan. Unusually for this industry, there was no agency involved; I developed the board with the client and we dealt directly. I suppose that’s also how I landed up being director. The dust has settled, the post-shoot euphoric rush has somewhat calmed down, and I’m now able to put some coherent thoughts together on the whole experience and what it means for my career in the long term.
In many ways, the two industries are frighteningly similar: technologically complex, requiring huge capital investment for relatively small margins, enormous marketing machines, some semblance of ‘celebrity’ endorsement, and ever shrinking improvements just waiting for whatever technology is just over the bend (hybrids, Foveon sensors, etc.). Perception over substance rules, too. And there’s a lot of crossover between the enthusiasts of both – I have a huge number of students who are also petrolheads. But there are enough differences that one could learn from the other, I think…
Name any one of the most famous and prolific photographers, and chances are you can probably remember only a small handful of their images. Even more surprisingly, if you spend a bit of time digging into their published collections, you’ll find that there are dozens more that you probably like better than their famous ones; photography is, after all, personal and subjective. But think about this for a moment: assuming that what you see is only what they choose to show you (being the effect of conscious exclusion at work again) – it makes you wonder exactly what didn’t make the cut.
I’ve gotten a number of emails recently asking for me to define the meaning of ‘shooting envelope’ – it’s a term which I use quite a lot in my articles and reviews, and it appears I’ve been rather remiss in explaining exactly what I mean by it. We’ll remedy that today, and explain why it matters.
I have a bit of a problem. In fact, it’s becoming an increasingly large one. Put simply, I’m running out of words to describe the things I’m seeing and the visual concepts I’m trying to explain; and I don’t know if the vernacular even exists. I suspect it doesn’t, but then again, I’m sure there are English speakers with greater vocabulary than me for whom it does. A large portion of you probably think this is stating the obvious; it is. But we reach a point beyond which it becomes impossible to progress further without some sort of common baseline accurately and consistently describe what it is we’re intending to convey; or more specifically, to ensure that what I’m saying and imagining are the same things as what you’re hearing and seeing in your own mind.
In the previous part of this essay, we discussed how diversification of media and bringing control to the masses changed the face of photography; today we’re going to continue with some thoughts on the current standard-bearer for that camp, and some concluding thoughts on what it means for everybody else.
Having been on Instagram for a few months now, and having to consciously separate out mobile photography as something that’s done independently from my ‘more serious’ work – I’ve had some time to rationalise my thoughts around them whole sub-medium. What I’ve found is that having a dedicated output channel for the results not just makes you look more actively for opportunities to use it, but also adds a layer of confusion: how do you decide when do you use what?
The perpetually asked question of ‘but is it art?’ is one that’s impossible to answer. I’ve tried, I know I’ve been found to fall short, and won’t event attempt to define it. But today I’d like to approach this topic from a slightly different angle: how are the three things in the title related?