Former club members Rich Price and Kev Spiers gave a warmly received evening, to a very well attended meeting, based on their two trips to Iceland. As much effort went into the presentation as into the trips and it was very informative and beautifully illustrated. I recommend it to any club in the vicinity. This evening took a complete circuit of the Island and some of the alien and breath taking scenery there. As Rich and Kev said in their last presentation, it’s hard not to stop every hundred yards to take another set of images, so many opportunities the landscape provides. 1300 miles and ten days to do the circuit it has to go on the bucket list. Not so sure about the £35 burger as if someone did that to me in a restaurant I think it would be me kicking the bucket.
Last time Kev and Rich presented to us on Iceland we looked at the planning aspect such a trip demands. If we are to see a return on the investment we lay out on such expeditions, including the considerably smaller ones of a jaunt to a favourite site or a weekend away, in personal development and photographic terms, we need to know what destination we are set for before we stride out and we need to know why we are choosing to go there. Proper Prior Planning Prevents Poor Photography. Well it increases the likelihood that we will produce a keeper or two through something more than dumb luck. Also planning can be a source of satisfaction in itself, as long as you don’t plan everything to the point of squeezing the joy out of actually doing.
That isn’t just a matter of geography. We have investigated the ideas inherent in the technically competent yet otherwise sterile images – the camera club spectre. Let me put it this way. Kev and Rich showed us photographs that made me think about what was just outside of the frame, they made me want to explore beyond the picture. We have all seen images on sites like Flikr, Viewbug, 500px, and so on that made us pause. Most simply do not, but they obviously appeal to a number of other people. The why and wherefore of emotional reaction to an image are going to be complex and personal, might even be unique to that particular moment in time to the photographer, to the viewer. We just have to look for the constant.
So, having set the problem I should at least offer some sort of solution. Easier said than done, because we can end up with huge lists of other considerations to even a simple and tentative statement. Often we define a picture by what it is not rather than what is. This is not an either or situation, it is two sides of the proverbial coin and like any coin it’s only real value is what you can get in exchange for it. We spend the coin, rather than loose it through a hole in our metaphorical pocket, when we put the pro’s and con’s we have judged on an image into our own practice and do so again on those images.
Each and every image ever taken can be seen as a question. It is an interrogation of the photographer’s view of the world through the selection of a very small part of it and within that a single object or point of reference (singularity works best for the vast majority of images) that spins off a whole universe of inquiry. By asking ourselves what the question was the photographer is posing by taking this picture, we put ourselves in the right frame for connecting with the image. The questioning approach opens us up to an emotional transportation. It also takes time and makes our brains work on a point of reference, rather than just attending or dismissing a picture. That is something the brain has to be forced to do as it tends towards activities that take lower or actually lower the amount of energy it uses on a particular task. Learning is energy intensive and every image is a learning opportunity, if, and only if, we so choose.
This is not to say that every frame is a monumental battle between the forces of nature and art, though art seeks to impose itself over the tangle that is nature using the rules of composition. Or ignoring them, but it is rarely successful when it does. It has to be a very bold, unique and still technically well executed image to do that. The possible exceptions to that are when the events captured are momentous, or singular in human history: Phan Ti Kim Phuc, the “Napalm Girl”, June 8th 1972; The crowd in Munich, August 1st 1914 on the outbreak of war in which one Adolf Hitler is supposed to be (possibly faked by the Nazi’s); Jaqui Kennedy reaching over the boot of the car in Dallas, a dead JFK and a wounded Governor John Connelly obscured from view, November 22nd 1963; the Tank Man of Tienemen Square, June 5th 1989; the lone house on the Normandy Beach Head viewed from a landing craft, June 6th 1944 – where the connection is with a knowledge of far off events yet no less visceral because of their historic importance. The design elements within an image, the way everything fits together, or not, give the image weight, heft, soul, emotional content, the story outside the photograph is what gets us in to it. Conclusion? Use our cameras to make stories not photographs.
So we thank Rich and Kev for sharing their stories in an entertaining and relatable way and wish them well with it.
N e x t M e e t i n g
Week 13 – 24th Nov 2016 19:30 – Lighting Techniques: Hosted by Mark O’Grady and Rob Heslop.