Peter Phillips was our speaker last meeting and he gave us his “Photographic Journey” from aerospace Image Scientist to his post retirement destination of Photographer. Peter gave us a chronological tour through his prints – made a refreshing change to the projected image and of course, takes most of those issues that can arise with the digital projection and colour shift that can occasionally arise. That said I wouldn’t want prints only every week.
Peter is unusual in his route into photography came from the technical side and the art only really appeared as a factor after 40 years at the cutting edge of aerospace imaging. He related his landscape, pattern and street photography images through Joe Cornish’s observations on the inter-relationships of craft, art and soul, all needing to be inherent in a photograph for it to truly work. His approach is very particular. He knows the image he is after, plans for it, I suspect meticulously, invests the time in research and patience in execution then packs his gear away until the next time. This is quite different to the way a lot of people would go about it and opens up an interesting view on our relationship with the camera as an object and as a tool and how we approach photography in general.
Yes the camera is just the means to an end, that end being taking a photograph, but I suspect many people, amateurs at the very least and I suspect quite a few people who get paid to take photographs, also take a pride in ownership. I am not talking about brand obsessed fan boys, but as you get used to your equipments strengths weaknesses and quirks you do forge a working relationship with it, become comfortable with it. This is only a problem when it gets in the way of making the best images you can. For sure, it is the photographer not the camera in the end, but we have all come across people who never seem to quite get beyond the prowess that the tool supposedly confers. The fact that this is not a cheap hobby certainly can add to the mystique of the kit, but to progress you have to get all that in perspective.
So when we take our cameras out, even if it is to get a specific image, most of us still snap away at interesting, vaguely interesting and what-the-hell-did-I-take-that-for? incidences of time, geography and otherwise vague intent. It’s a hobby, it’s done for enjoyment. The single mindedness of just taking the shot, ok from several angles with exposure triangle variations then packing up and going home is something that I bet that most of us in the club lack, at least on any regular basis, but that is just a more ordered way of working. Workflow needs a defined purpose to work otherwise we just end up meandering around in the grand scenery of a general waste of time. Then there is that bit with a fancy title, “Post Production” or at least it is when they do it in the movies, the bit when the actors have finished. We might bump into something useful or interesting but it is unlikely unless we have a definite idea of what the final product looks like. We’ve talked before about how luck falls to the prepared. It certainly helps to have that in your mind when you leave the house. Whether it is the only thing you have when you return is either the way the day was or the whole and only point of the day.
With the details of the craft, the technicalities are constantly changing and challenging, the key is in getting them all in order to form an image with impact. This is the art. The composition element is as much a part of the craft as it is of the art, it is I would venture where the two overlap. The art is created by melding of the craft elements to capture the imagination that sparked the interest in the first place. If missing or poorly executed the story can get lost. You can get all the elements of a picture to line up and be on your way to a great picture but is it one that elevates the imagination captures the attention and makes you pause, even briefly? Are you engaged? If you are not your viewers certainly won’t be, almost can’t be, though the visceral and compelling horrors of a murder scene as an art form may not be the best way to win friends and influence people some haunt the memory, others fade. Yes the subject can have impact but the story is still the thing. We’ve come across the phrase “Technically correct, subject deficient” before so there has to be something else.
Soul, Peter offered, quoting Joe Cornish’s work. Problem with that is it is something beyond the words we can use to define it: “Emotional or intellectual energy or intensity, especially as revealed in a work of art or an artistic performance“. Problem with it is what moves one in say, a landscape, as that was Peter’s starting point, is just a pretty picture to another. Also it is difficult to replicate, even on the same scene, but maybe that is the point. Actually, that is the point or there wouldn’t be a market for prints. This is where the conversation truly gets vague and tends to wander off on its own direction, because we are trying to define the indefinable. We cannot touch it, feel, smell it, see it or hear it but we are affected by it.
Maybe for photographers it is Soul in the Aristotelian sense we are looking for. Aristotle was an ancient Greek philosopher and he defined soul as what makes us human but also as the essence in all living things that let us interact with the world around us. That is what we are trying to capture and the soul in the landscape is really the trigger in ourselves and in at looking at what is vital, essential, the thing that makes us, well, us.
N E X T W E E K
Architecture: Meet at Bath Abbey 19:30 hours. Oh and bring you camera. No event at the school.