Why the right hardware is liberating

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It might actually be better to start off with the corollary: why the wrong gear is frustrating, or at best, obstructive. First principle: what’s good for you isn’t necessarily good for somebody else, and vice versa. This may seem obvious, but the number of people who are chasing and lusting after hardware that simply doesn’t make sense for them is quite mind boggling – the internet seems to be full of them. Of course, it’s highly likely that those who have found camera nirvana are simply out there making pictures and have stopped thinking about the whole gear train – it seems much more productive to me to spend time making pictures instead of scouring fora for obscure solutions and rumour sites hoping for magic bullets. It boils down to this: most people make different images. Considering this objectively, it means that for different objectives, different tools are required. Yet what I can’t understand is the obsession with finding a one-size-fits-all; the manufacturers want to do this because it makes economic sense, but the whole point of having choice is so we as consumers do not have to.

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Repost: The idea of a ‘5’, or that extra element

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Stairway to heaven. In the larger version it’s clear the solitary figure is elderly; we’ve got the manmade foreground/environment to emerge from, and the metaphorical representation of utopia in blue sky/perfect clouds…

After the last few posts on ideas, projects and distillation, I thought it’d be a good idea to revisit this earlier article around how to take things further: finding that extra something to elevate an image into something really memorable. Of course there are no rules, because if there were, an image be easily repeatable and at odds with the very nature of an outstanding image being exceptional. But perhaps we can learn to recognise and use this…

Most of the regular readers here will be familiar with the concept of ‘the four things’ – this is to say that there are a few elements that are independent of content that every image must have in order for it to leave some sort of impression on its audience. The framework is both a useful checklist and teaching tool to get a photographer to a certain level of proficiency; however, it can be restrictive in the sense that it is still somewhat formulaic. And that’s half the challenge here: if you can fulfil a list of objectives to make an outstanding image, then what is the function of the photographer? Surely these things could be programmed into an algorithm and left to its own devices to make the next hundred great photographs of the century? Wrong. There’s still one last element which will never foreseeably be automated or predicted or planned.

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Turning an idea into an image

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Alienation and transience in Prague, I

Today’s article has proven to be another one of those significant challenges to write, once again for reasons of limitations of language to describe visual elements. On top of that, there are three conceptual leaps that have to be made: abstract idea, to descriptive language/ elements to characterise and quantify the specific unique traits of that idea so we conceptually understand it, then the final translation to a visual idea that can be understood by a wider audience than just the creator. There are really two questions at hand here: firstly, what is the idea, and secondly, what’s needed to convey it – and what do we need to avoid overdoing that results in dilution or confusion?

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Curating to a theme

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Images chosen from past exhibitions/ collections/ projects: note how they stand alone, but not together…this doesn’t necessarily make them bad…or I suppose that depends on your point of view.

I’ve recently been asked by a couple of people about curation – specifically, the process I use when putting together a portfolio, photoessay, exhibition or something similar. Turns out that whilst I’ve talked about the importance of curation in the past, and evaluating images individually and against each other in Photoshop Workflow II, I’ve never actually addressed about the process as a whole. It’s actually a pretty interesting topic that isn’t as straightforward as you might think.

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Balance beyond photography

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I’ve always thought there were more senses beyond the obvious physical ones – perhaps they’re synergistic, perhaps otherwise. I suppose to call it pure aesthetics would be not really accurate, either – but the upshot is of course a result that is either pleasing or not. In the course of many discussions with a wide cross section of people on the topic, it seems that the ‘sense of balance’ is either there, or it isn’t. It doesn’t necessarily mean that those with a heightened sense of balance can consistently create strong images – arguably, in some ways it’s the opposite – but there’s definitely at least recognition of what works and what doesn’t. Two immediate thoughts follow: why? And more importantly, how can we use this to make a better image?

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On the curation of a book

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Though a book of photographs is something that I’ve been asked for time and again – I’ve honestly felt that it doesn’t really make a lot of sense to do, both because ultimately the audience is quite limited, and because the economics are a bit of a disaster if you care the slightest about quality. Speaking to many possible publishers, printers, and photographers who’ve done it (including those considered to be highly successful in this game, such as Nick Brandt) – it’s clear to me that any sort of photographic-only book is only worth doing if somebody with deep pockets is funding it for you. For example, Brandt doesn’t break even on any of his books – because his required standards for printing are so high; the problem is once you’ve seen what’s possible, it’s very difficult to compromise. Yet…I’ve not only decided to do one, but my editor and I are well into the process of putting it together already. Why? Let me attempt to rationalise – and share some of the frustrations…

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Forum thinking, part II

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Clarity at dusk

Firstly, I’d like to say a huge thank you to everybody who contributed in the comments to the previous discussion – your ideas and support have been most helpful in clarifying my own thoughts. Fundamentally, the challenge is really one of time: how can I balance off increasing family demands against the site (which in many ways is really another child) and perhaps at the same time, make changes that both buy me time and give you something more? It isn’t a question of monetisation because all of those options require more administrative time and don’t buy time elsewhere. Having had some further time to think, here’s what I think we’ll do going forward:

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Format strengths: why do different sized media render differently?

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MF tonality and separation: in the full size image, the airplane is in a clearly different focal plane to the tree and hangar – even though it was shot at f8.

I’ve written previously about what exactly contributes to the ‘medium format look’. However, I think to some degree we also need to both define what constitutes the hallmarks of smaller formats, but more importantly figure out where each format’s strengths lie. Having now shot what I’d consider ‘enough’ with a complete MF system wth lenses ranging from ultra wide (24mm, or 18mm-e) to moderate tele (250mm, or 180mm-e) I think I’ve built up a much more complete picture. No doubt this will change if the recording medium size increase further – with the 54x40mm sensors, for instance – but I think it’s fairly safe to extrapolate based on the differences between subsequent smaller formats.

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2017 crystal-ball gazing

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Sorry, didn’t have a crystal ball handy…

I said at the start of 2016 that the overall market for photographic services (commissioned work, art, education) was getting lumpier and smaller: I don’t think that’s changed. If anything, it’s gotten worse. I suspect this is an underlying societal change more than anything: people are simply getting bored. So where does that leave us in 2017?

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On ugliness, beauty, and photography

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“Ugly boring boring boring. Such boring images despite having good equipment.” “Talentless.” “Mediocre”. Just a few of the choice statements this image brought out on Facebook for some odd reason; I have no idea why that kind of response only happened with one particular photograph; perhaps the commenters woke up on the wrong side of the bed, had an argument with their spouses or were served inferior coffee. In any case, it’s difficult to take such things seriously if there’s no body of work or any sort of artistic conviction displayed by the critic. But it did make me think about something else: what determines beautiful and ugly? What is the purpose of a photograph, if not to be a record of a unique point of view? Ideally, that point of view should trigger some sort of emotion – good or bad, because surely if there’s no emotion elicited in the audience, then the image has no impact at all – and thus won’t be remembered? Taking one step further, does it matter if the emotion is positive or negative?

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