The Camera Points Both Ways

[NRich]

The Flow and forming process in the natural world holds for me an abundance of visual explorations. My interest is more than the objects themselves, and is in context of the nature of change. To further my understandings I often return seasonally to places I have been before for new insights. I am intent on getting past generalized scenes, to explore more specific interests in greater depth.

These three recent images from the larger ongoing theme of: The Nature Of Change. This series: Water,Rock,Leaves. My attention goes to setting up the shot, to the visual structure, the visual components of the image. I proceed by means of recognizing the important visual elements, I want in the shot-and what is the expressed relationship of these elements.

The tendency of the snapshot approach is to focus in on the subject, at the expense of the rest of the visual elements within the rectangle. In painting this area of dynamic interplay is referred to as the figure ground relationship. It holds an equally important place for me in photography, as it does in painting.

My intent is to get beyond photography as a listing of facts, to images of expressive force. I feel it is useful to remind ourselves the camera points both ways, to both an inner an outer vision.

It is late autumn in the greater Vancouver area. The leaves that are turning color, are falling, on and around rocks, into water. I have chosen to explore visual relationship of these elements. Leaves provide color variations, in the warm end of the spectrum and provide access to elements of rhythm and pattern.Leaves can be seen as overlapping, or isolated for their delicate thin individual shapes.

Water is chameleon- can take on a range of the color and tonality, may be seen as reflecting blue sky, or through transparency -earth tones at bottom of the pond.Leaves differ, above and below water. While one leaf floats, others are echoed in the shallow water below.

Stone carries an aura of immutable weight and solidity. An opportunity of the cooler color planes of rock, to interact with fall leaves, set on a flat surface of water, or small rocks rediscovered in the third image as part of a rhythmic tapestry mosiac.

Dwelling on the figure ground relationship provides extended opportunites for seeing. Recognizing objects is one thing- seeing another. Seeing involves getting beyond labels of things, seeing involves experiencing by the doing of it. To paraphrase the painter Monet-, forget the name of rock,water, and leaf in order to see. Seeing and creating images is I find, a highly active, satisfying, lifelong journey.

F717-on tripod.







--
NRich
http://www.pbase.com/norman

 

[Isabel Cutler]

....almost makes me get excited about taking out my tripod! Thanks for the motivation.

Isabel

--
http://groups.yahoo.com/group/Digipets/?yguid=11497599
http://www.pBase.com/isabel95
pBase supporter

 

[Bill Borne]

Norman,

Your photos always intrigue me. I am amazed by your writing....while I am "off the cuff"...you on the other hand are very precise in your words and sentences you choose. I'm not sure which I enjoy more. The photos or your writings. Although, I have to admit I usually have to read them several times to get everything out of them . You do make one "THINK".
Bill B
http://www.pbase.com/bill_b

The Flow and forming process in the natural world holds for me an
abundance of visual explorations. My interest is more than the
objects themselves, and is in context of the nature of change. To
further my understandings I often return seasonally to places I
have been before for new insights. I am intent on getting past
generalized scenes, to explore more specific interests in greater
depth.

These three recent images from the larger ongoing theme of: The
Nature Of Change. This series: Water,Rock,Leaves. My attention goes
to setting up the shot, to the visual structure, the visual
components of the image. I proceed by means of recognizing the
important visual elements, I want in the shot-and what is the
expressed relationship of these elements.

The tendency of the snapshot approach is to focus in on the
subject, at the expense of the rest of the visual elements within
the rectangle. In painting this area of dynamic interplay is
referred to as the figure ground relationship. It holds an equally
important place for me in photography, as it does in painting.

My intent is to get beyond photography as a listing of facts, to
images of expressive force. I feel it is useful to remind ourselves
the camera points both ways, to both an inner an outer vision.

It is late autumn in the greater Vancouver area. The leaves that
are turning color, are falling, on and around rocks, into water. I
have chosen to explore visual relationship of these elements.
Leaves provide color variations, in the warm end of the spectrum
and provide access to elements of rhythm and pattern.Leaves can be
seen as overlapping, or isolated for their delicate thin individual
shapes.

Water is chameleon- can take on a range of the color and tonality,
may be seen as reflecting blue sky, or through transparency -earth
tones at bottom of the pond.Leaves differ, above and below water.
While one leaf floats, others are echoed in the shallow water below.

Stone carries an aura of immutable weight and solidity. An
opportunity of the cooler color planes of rock, to interact with
fall leaves, set on a flat surface of water, or small rocks
rediscovered in the third image as part of a rhythmic tapestry
mosiac.

Dwelling on the figure ground relationship provides extended
opportunites for seeing. Recognizing objects is one thing- seeing
another. Seeing involves getting beyond labels of things, seeing
involves experiencing by the doing of it. To paraphrase the painter
Monet-, forget the name of rock,water, and leaf in order to see.
Seeing and creating images is I find, a highly active, satisfying,
lifelong journey.

F717-on tripod.







--
NRich
http://www.pbase.com/norman

 

[michealj]

I really enjoy your explainations on the why, wherefore and I do have to read more than once. While I plan to go back an revisit sites I have been this year, my clarity of vision is sometimes (usually) cloudy. This means I left a keeper out there.

Your articles are better than most critques I have recieved and keep moving me forward.

Thank you.
--
Mike

'What are we here for if not to walk with each other along life's journey?' Charles Dickens

 

[W.C.]

My intent is to get beyond photography as a listing of facts, to
images of expressive force.

Thank you for so concisely describing that feeling that tickles the back of my brain every time I pick up my camera!

--
W.C. VandenBerg
http://www.pbase.com/wc_vandenberg
--



A random thought, if said aloud,
May soon attract a hostile crowd. -- Edward Gorey

 

[NRich]

Hi Bill

I enjoy writing that encourages reflection around visual issues of photography. Here, in point form, are some of the key visual areas I find myself returning to explore. These are visual issues from my orientation that carry over to photography from my three decade fine arts background.

1. My approach to Photography is as a visual medium- meaning that the important choices are first and foremost visual ones. Setting up shots is artistic in nature, as my choices involve setting visual priorites. The camera is there to follow visual instructions-through camera controls- give to it based on Intent and visual preferences.

2. Visual issues are in essence a matter of learning to see-through the doing of it. The camera manual is limited as it is about the camera. Images come about through giving importance to intangible visual choices. We can chose to make our photos more realized, through inner choices and external observation.

I find there are attitudes that make this more likely to occur. Visual issues such as light,form, color, expression, imagination, creative process, and visual design will need to be made to matter, above and beyond solely technical considerations.

3. Its our creative responsibility to get the most out of our camera according to Intent. Cameras can be as good as the photographer that use them. Technical choices are a means of serving our visual goals. As We put in our dues, we aquire acumulative experience.We learn to run, having first learned to walk. If we made our visual choices clear, conscious, and certain, from the outset- with each shot, we build foundations that spring loose our intuition.

4. A mechanical camera cannot provide Intent. We provide Intent, through care and attention to visual choices. As we foster our creatively- we encourages growth, and develope consistency in our photography. A path and procedures that allows our Intent to deepen, spurs a passion for photography-for imaging, can sustain creativity over a lifetime. Approaching photo shoots by way of themes and series, provides the benefit of a loose structure to explore in depth, to overcome the limitations of one-off snapshots.

5. I contend there is no one "best" camera, only those best suited.The notion of "best" waylays the more challenging internal soul searching of our intent. Likewise The notion of "Best" photo can be equally distractive.IMO the frequent use of term"best" may account for more camera wars, and confusion over ones own process than any other single issue.Rather than whats best-I prefer to think in terms of what I respond to and why.My intent is in realizing the potential of any given photograph.

6....................................................................................
(fill in: What are the visual issues that matter most to you, and why?

7....................................................................................
How does your intent of your visual choices relate to the results your getting?
--
NRich
http://www.pbase.com/norman

Norman,
Your photos always intrigue me. I am amazed by your
writing....while I am "off the cuff"...you on the other hand are
very precise in your words and sentences you choose. I'm not sure
which I enjoy more. The photos or your writings. Although, I have
to admit I usually have to read them several times to get
everything out of them . You do make one "THINK".
Bill B
http://www.pbase.com/bill_b

--
NRich
http://www.pbase.com/norman

--

 

[NRich]

Hello Isabel

Tripods....Yes, well I don't leave home without it

I am gravitating to increasingly more use of my Cullman Magic 2 tripod in combination with the exceptional Leitz ball head,( which I've owned for the past 25 years). versatile, light and compact combination .I also use a remote shutter release, with the cord- electrical taped short, rather as a permenant attachment to the camera, so as not to incur micro camera movement by pressing the shutter on the camera body.

My other tripod- the Manfrotto I take If I'm likely to be setting up at 1 sec. or slower.The style I'm inclined to is looking down-about 10"or so to the upturned LCD below- a little like using an old Rollei.

The advantages for me are that i can change my focus from the subject to the LCD faster-more often than if it was closer to my eye. As the center post is kept lower, I am able to carry less tripod weight.

I frequently move with the camera on the tripod, and will shoot- last resort, by removing the camera from the tripod that has a quick release mount, as i use iso 100 almost exclusively- and handhold or use 200 only if absolutely necessary.

I view Handheld shots as a bit of focus gamble and guessswork, the LCD cannot give the same focus capture feedback that my LaCie graphics monitor reveals. In the equation of variables I prefer to know that when reviewed any given image will have the controlled focus a tripod assures.
NRich
http://www.pbase.com/norman

....almost makes me get excited about taking out my tripod! Thanks
for the motivation.

Isabel

--
http://groups.yahoo.com/group/Digipets/?yguid=11497599
http://www.pBase.com/isabel95
pBase supporter

 

[NRich]

Hi Mike

Thank you for making the time to respond. I have enjoyed reading where the subjects and treatment were challenging, where I have been given the opportunity to reflect more on my areas of interest, where re-reading pays dividends.

The visual areas of fine art have a long history, have a common language to draw from and refer to. For example the term "figure and ground" relationship is familar to those with a arts background, it is rarely heard or mentioned in photography. Yet the same visual concerns overlap photography as painting.

One of the obvious visual limits to snapshooting is the figure or subject bears little if any meaningful visual relationship to the ground, or surroundings.

A while ago I mis-typed in one of my water, rock, leaf - pbase image number and pulled up a prone female on a bed This random image got me thinking. The photographers intent was good: a respectfull image of a wife or girlfriend. However the execution of the shot was at odds with the good intent. The choice of backlighting-the subject was lite from a large open window almost directly behind- clothed the figure in dark shadow, and wholely bleached out the surrounding walls and sheets.

It was a timely reminder that good intentions, devoid of appropriate visual choices are not enough, and the kind of efforts required for fully realized images, if that is our quest -as it is mine. In this case-The full attention of the photographer was on their female subject, while the all important aspect of the quality and direction of light was ignored. Having a good camera ,wanting to take good pictures, is really only a beginning as results will always revolve around the care and attention given to visual essentials.

p.s. I like your image of retreaving the lost keepers . Seems to me what growth in visual understandings is all about.
NRich
http://www.pbase.com/norman

I really enjoy your explainations on the why, wherefore and I do
have to read more than once. While I plan to go back an revisit
sites I have been this year, my clarity of vision is sometimes
(usually) cloudy. This means I left a keeper out there.
Your articles are better than most critques I have recieved and
keep moving me forward.

Thank you.
--
Mike

'What are we here for if not to walk with each other along life's
journey?' Charles Dickens

 

[NRich]

Hello W.C.

...And thank you for responding. I wish at times there was a meter-or count to know the number of persons reading a post in proportion to the number responding. I certainly welcome all those reading my threads to respond-As a visual artist I've made myself available for discussions in the STF about photography and visual issues.

While I'm prone to longer threads, I appreciate short replies as well. I'm not always able to get a response back right away- but i get back around to respond to most, if not all posts.

Its interesting to me that you highlighted the line below from the first post. I feel a clear between an orientation to photography that list facts, and the cross over into photography pursued as an art form with images of expressive force. As there are those who believe that the sole role of photography is the plastic representation of facts-It seems this also is an interesting area of discussion.
NRich
http://www.pbase.com/norman

My intent is to get beyond photography as a listing of facts, to
images of expressive force.

Thank you for so concisely describing that feeling that tickles the
back of my brain every time I pick up my camera!

--
W.C. VandenBerg
http://www.pbase.com/wc_vandenberg
--



A random thought, if said aloud,
May soon attract a hostile crowd. -- Edward Gorey

 

[Shay Stephens]

I am with you there Norman, a tripod, ISO 100 and the remote shutter. Hard to beat quality wise. And the results you get speak for themself. The patterns and color are fantastic! My favorite image is the top one.

--
Shay

My Sony F707 & F717 Gallery: http://www.shaystephens.com/portfolio.asp
My F717 Observations: http://www.shaystephens.com/f717.asp

 

[bluemax89]

Your pictures are amazing! To me it's kind of like art with a technology behind it. That is to say, any ass can take a picture, (technology), however, to utilize the technology of a camera to make artwork is something not any ass can do.

BM.

...And thank you for responding. I wish at times there was a
meter-or count to know the number of persons reading a post in
proportion to the number responding. I certainly welcome all those
reading my threads to respond-As a visual artist I've made myself
available for discussions in the STF about photography and visual
issues.

While I'm prone to longer threads, I appreciate short replies as
well. I'm not always able to get a response back right away- but i
get back around to respond to most, if not all posts.
Its interesting to me that you highlighted the line below from the
first post. I feel a clear between an orientation to photography
that list facts, and the cross over into photography pursued as an
art form with images of expressive force. As there are those who
believe that the sole role of photography is the plastic
representation of facts-It seems this also is an interesting area
of discussion.
NRich
http://www.pbase.com/norman

My intent is to get beyond photography as a listing of facts, to
images of expressive force.

Thank you for so concisely describing that feeling that tickles the
back of my brain every time I pick up my camera!

--
W.C. VandenBerg
http://www.pbase.com/wc_vandenberg
--



A random thought, if said aloud,
May soon attract a hostile crowd. -- Edward Gorey

--

 

[NRich]

Hi Shay,

I am commited to discover and share procedures, processes, and visual modes of thinking that encourage excellance. Re camera set up: For consistant image quality and focus: A big three: tripod, ISO 100, and the remote shutter. Adding a fourth- it would be the Sony lens hood. I prefer this hood for its anti-glare coverage. I often prefer to shot with the lens-"naked" to borrow the expression from Ulysses, that is with lens hood, without UV filter.( I reverse it over the lens for compact storage.)

What you are aware of evident in your fine work, is the expressive latitude a tripod offers with fstop and depth of field choices. Many who are hand holding, as the winter light continues to lessen outdoors, will find themselves pushing up against the wall of common settings such f2 and a 30 of a second speed- marginally acceptable at wide angle, and not at all with telephoto, for me bumping up the ISO is no solution at all.

I have come to add the term " on tripod" to most of my thread image descriptions. Outdoors I reference off an f4 setting, as a base.I estimate I would loose 40% of my shots or more, if I were to hand hold only.

I recently had a young woman ask me to take a shot with her camera, from the place i had set up my tripod.I kindly explained to her she would have to re think what she wanted as the shot could not be taken from that spot in late afternoon light without a tripod.

The remote release is at least for me- indespensible. I used a cable release for 35mm photography.A small thing perhaps, pretty important to me.

It is in my view impossible not to jar the camera -on invisible micro levels of movement when pressing the shutter with ones finger. I believe that out of a 100 persons who would try a tripod, ISO 100, and a remote release and a hood and view 100 images through a good moniter- few would return to handheld if the priority was consistant image quality alone, rather than convience.

I truely appreciate your input.
Norman
http://www.pbase.com/norman

I am with you there Norman, a tripod, ISO 100 and the remote
shutter. Hard to beat quality wise. And the results you get speak
for themself. The patterns and color are fantastic! My favorite
image is the top one.

--
Shay

My Sony F707 & F717 Gallery: http://www.shaystephens.com/portfolio.asp
My F717 Observations: http://www.shaystephens.com/f717.asp

 

[bluemax89]

Is this remote for the 717 something you can get at the Sony store? I need one. Also, what is this monitor you are talking about? This sounds really useful for getting more accurate fucussing. How big is it, and how much is it? Do you plug it in to the A/V out I/O? Does it work just like a larger version of the LCD, but more accurate?

BM

I am commited to discover and share procedures, processes, and
visual modes of thinking that encourage excellance. Re camera set
up: For consistant image quality and focus: A big three: tripod,
ISO 100, and the remote shutter. Adding a fourth- it would be the
Sony lens hood. I prefer this hood for its anti-glare coverage. I
often prefer to shot with the lens-"naked" to borrow the expression
from Ulysses, that is with lens hood, without UV filter.( I reverse
it over the lens for compact storage.)

What you are aware of evident in your fine work, is the expressive
latitude a tripod offers with fstop and depth of field choices.
Many who are hand holding, as the winter light continues to lessen
outdoors, will find themselves pushing up against the wall of
common settings such f2 and a 30 of a second speed- marginally
acceptable at wide angle, and not at all with telephoto, for me
bumping up the ISO is no solution at all.

I have come to add the term " on tripod" to most of my thread image
descriptions. Outdoors I reference off an f4 setting, as a base.I
estimate I would loose 40% of my shots or more, if I were to hand
hold only.

I recently had a young woman ask me to take a shot with her camera,
from the place i had set up my tripod.I kindly explained to her she
would have to re think what she wanted as the shot could not be
taken from that spot in late afternoon light without a tripod.

The remote release is at least for me- indespensible. I used a
cable release for 35mm photography.A small thing perhaps, pretty
important to me.

It is in my view impossible not to jar the camera -on invisible
micro levels of movement when pressing the shutter with ones
finger. I believe that out of a 100 persons who would try a tripod,
ISO 100, and a remote release and a hood and view 100 images
through a good moniter- few would return to handheld if the
priority was consistant image quality alone, rather than convience.

I truely appreciate your input.
Norman
http://www.pbase.com/norman

I am with you there Norman, a tripod, ISO 100 and the remote
shutter. Hard to beat quality wise. And the results you get speak
for themself. The patterns and color are fantastic! My favorite
image is the top one.

--
Shay

My Sony F707 & F717 Gallery: http://www.shaystephens.com/portfolio.asp
My F717 Observations: http://www.shaystephens.com/f717.asp

--

 

[Nee (Renee Davis)]

Hi, Norman...

I would like to thank you once more for sharing yet another eloquent discourse on the subject of photography. I, too, have been exploring the why's and wherefores of what makes a photograph exceptional, and have come up with a list of my own that I may share someday (but not tonight, as it's almost midnight and I'm far to tired). Some of our thoughts are very similar, esp. the idea of relationships within the image and expressing something more than just the facts of the scene.

But I'm having a major problem to getting a good photo and that is my failing eyesight when it comes to seeing things close up (I call it my Grandma eyes!). Despite using reading glasses, I'm still unable to really tell if I've got the camera in good focus and have had far too many disappointments when I get home to a larger screen to view the results.

Your use of a portable monitor sounds very intriguing, so I'm very interested to hear what it is and how it works. Anything that can help me to achieve a nice sharp focus will be worth every penny spent to me.

Thanks again for your insights and also for sharing some more of your wonderful images with us.
Nee
--
see Nee's photos at:
http://www.photosig.com/userphotos.php?id=777
http://www.pbase.com/rdavis

To post your photos for comments and critique, come join us at http://www2.communityzero.com/scopes , a community of digital camera owners and STF members. Hope to see you there! Nee

 

[NRich]

bluemax89

You caught me smiling on this one

Well, I think you onto something when you rightly connect the dots of anyone can take a picture through means of technology. Blind folded photos will emerge out of the camera with the press of a shutter. These images will be factual, and ironicaly have loads of information. The dispersion and overload of information, minimizes the possibility of a coherent expression.

Cretive expression is linked to making visual priorites. To the extent the information shown in a photo is random,(i.e. unseen and unfelt) we as a viewer are unable to experience what is intented.

Blindfold photos are devoid of Intent. Works of artist feature Intent.

The impulse to create art, or images of expressive force, pivotes around a series of meaningful choices. Visual artists spend a lifetime evolving a vision, emerging from explorations over time.It is an open invitation. In other words Intent is something that matures in each of us that commit to a creative path.

As I see it, making art photographically has a lot to do with more fully experiencing our experience, or paying attention to what we are paying attention to. I am one willing to share the proccess, and discoveries of this journey.

NRich
http://www.pbase.com/norman

Your pictures are amazing! To me it's kind of like art with a
technology behind it. That is to say, any ass can take a picture,
(technology), however, to utilize the technology of a camera to
make artwork is something not any ass can do.

BM.

 

[NRich]

Hi, Norman...

Some of our thoughts are very similar, esp. the idea of
relationships within the image and expressing something more than
just the facts of the scene.

Well I'm an admirer of your photography Nee and have visited your site on a number of occassions-I frequently see a sense of the miraculous and the sublime in your photography. I don't always get back to a message right away, and recall having written to you in past threads about the joy evident in your work- post response you may not have seen- rediscoverable in the search engine under NRich. I would like to explore further with you what you've found to matter as you go about making visual decisions..I would very much like to see those with the experience to step forward. I think alot would become more clear with post exchanges around creative process and artistic decisions.

But I'm having a major problem to getting a good photo and that is
my failing eyesight when it comes to seeing things close up (I call
it my Grandma eyes!). Despite using reading glasses, I'm still
unable to really tell if I've got the camera in good focus and have
had far too many disappointments when I get home to a larger screen
to view the results.

Well, a few things. I am somewhat nearsighted, and wear corective glasses.

From your work it appears your using a tripod for most shots. If your not now using the Sony remote release I highly recommend it. Unlike the former mechanical moving plunger releases for 35mm camera, the sony remote transfers a non moving- non jarring signal to the camera for shutter release,( as well as off/on and zoom capacity.)Its used for all shots on the tripod. This remote allows me to travel with a lighter more compacr tripod the Cullman Magic 2, with the Manfrotto as a back-up.

Which brings me to the second point. The camera sits exactly 13" (just paused to measure) below my eye to the swiveled LCD at standing height- with the camera 48" off the ground.This does a number of things for me. It give me a more rigid tripod. It allows me a clear unobstructed vision of the scene.with my elbows to my side the camera is level to my outstreched hands. I look over the top of the glasses to see clearly the LCD and through the glasses to see the subject- (figure ground relationship). I generally reference off f4 and upwards, with rare Out of Focus surprises, the exception / macro where special care is needed and additional DOF shots are made when in doubt.

Your use of a portable monitor sounds very intriguing, so I'm very
interested to hear what it is and how it works. Anything that can
help me to achieve a nice sharp focus will be worth every penny
spent to me.

If I am well away from home- I use a portable ibook to downdoad images. Back home I use a high quality graphics monitor by LaCie- called the electron 19" blue -3.

This is the leading 19" graphics monitor with a Mitsubishi tube tweeked up for professional use, and you have to see it with you photos to appreciate how good it is,and what the f717 can do. Anyone looking to upgrade from a older monitor- and serious about true color, resolution and tonality I would seriously recomend the La Cie on the short list.
Nee- if you find this post, probally off the board by tommorrow- write me.

Thanks again for your insights and also for sharing some more of
your wonderful images with us.
Nee
--
see Nee's photos at:
http://www.photosig.com/userphotos.php?id=777
http://www.pbase.com/rdavis

To post your photos for comments and critique, come join us at
http://www2.communityzero.com/scopes , a community of digital camera
owners and STF members. Hope to see you there! Nee

--
NRich
http://www.pbase.com/norman

 

[NRich]

bluemax

The Remote I use is indeed a Sony product- the code is the RM-DR1. This remote will operate on/off- shutter release- and zoom. It is designed to operate in any Sony DSC AC terminal, such as F707 & F717. Expect to pay $ 50. U.S. approx.
The Sony lens hood: to retain image quality and prevent flare : LSS-H58A.

I have discussed my studio graphics moniter in a post in this thread to Nee,and expect to post more on this soon.

NRich
http://www.pbase.com/norman

Is this remote for the 717 something you can get at the Sony store?
I need one. Also, what is this monitor you are talking about?
This sounds really useful for getting more accurate fucussing. How
big is it, and how much is it? Do you plug it in to the A/V out
I/O? Does it work just like a larger version of the LCD, but more
accurate?

BM

 

[Bill Borne]

Hi Bill

I enjoy writing that encourages reflection around visual issues of
photography. Here, in point form, are some of the key visual areas
I find myself returning to explore. These are visual issues from my
orientation that carry over to photography from my three decade
fine arts background.

1. My approach to Photography is as a visual medium- meaning that
the important choices are first and foremost visual ones. Setting
up shots is artistic in nature, as my choices involve setting
visual priorites. The camera is there to follow visual
instructions-through camera controls- give to it based on Intent
and visual preferences.

2. Visual issues are in essence a matter of learning to see-through
the doing of it. The camera manual is limited as it is about the
camera. Images come about through giving importance to intangible
visual choices. We can chose to make our photos more realized,
through inner choices and external observation.

I find there are attitudes that make this more likely to occur.
Visual issues such as light,form, color, expression, imagination,
creative process, and visual design will need to be made to
matter, above and beyond solely technical considerations.

3. Its our creative responsibility to get the most out of our
camera according to Intent. Cameras can be as good as the
photographer that use them. Technical choices are a means of
serving our visual goals. As We put in our dues, we aquire
acumulative experience.We learn to run, having first learned to
walk. If we made our visual choices clear, conscious, and certain,
from the outset- with each shot, we build foundations that spring
loose our intuition.
4. A mechanical camera cannot provide Intent. We provide Intent,
through care and attention to visual choices. As we foster our
creatively- we encourages growth, and develope consistency in our
photography. A path and procedures that allows our Intent to
deepen, spurs a passion for photography-for imaging, can sustain
creativity over a lifetime. Approaching photo shoots by way of
themes and series, provides the benefit of a loose structure to
explore in depth, to overcome the limitations of one-off snapshots.

5. I contend there is no one "best" camera, only those best
suited.The notion of "best" waylays the more challenging internal
soul searching of our intent. Likewise The notion of "Best" photo
can be equally distractive.IMO the frequent use of term"best" may
account for more camera wars, and confusion over ones own process
than any other single issue.Rather than whats best-I prefer to
think in terms of what I respond to and why.My intent is in
realizing the potential of any given photograph.

6....................................................................................
(fill in: What are the visual issues that matter most to you, and why?

For the most part I think I am somewhat of a "realist" relating to my photography. I view a scene, subject, etc and usually but not always will try to record it just as I see it. Not that I want to snapshot it, but I want the final photo to reflect what I am seeing and how the scene/subject is registering in my mind as to it's beauty (and I think all of nature is beautiful..from the tiny ants to the mountains) or uniqueness...and every photo is unique no matter who takes it. That is why I like to view all the photos posted here everyday. I am especially fond of natures "textures" and shadings and the natural lines. (My father taught me cabinet making years ago and I just could not bring myself to ever paint a piece of furniture. I feel the natural grain of the wood is too beautiful to cover up). If you look you will notice nature has many, many different types of lines, not necesscarily straight. And for the most part they are not chaotic. Look at the woodgrain in an oak board for example. IE..the stump photos..I just was not capturing what I wanted to (the texture and shadings of it). I will try again on that one. There have been many times I go back to the same place and rephotograph...light changes the whole perspective. I also agree that a tripod and remote are necessary not a luxury for photography. I never leave the house with the camera without the tripod and remote. I'm not sure if you understand me here, as i'm not gifted in writing like you are.

7....................................................................................
How does your intent of your visual choices relate to the results
your getting?

Heh, I'm still working on that!

NRich
http://www.pbase.com/norman

Norman,
Your photos always intrigue me. I am amazed by your
writing....while I am "off the cuff"...you on the other hand are
very precise in your words and sentences you choose. I'm not sure
which I enjoy more. The photos or your writings. Although, I have
to admit I usually have to read them several times to get
everything out of them . You do make one "THINK".
Bill B
http://www.pbase.com/bill_b

--
NRich
http://www.pbase.com/norman

--

--
Bill B
http://www.pbase.com/bill_b

 

[bbzippo]

Escher's "Three Worlds" - one of my favorite artworks.



I always wanted to shoot something like this...

Thank you for sharing your work and your thoughts.

 

[NRich]

Hello Bill

I enjoyed your thoughtful response and your heartfelt expression of feelings about visual issues that matter to your photography.

What are the visual issues that matter most to you, and why?

For the most part I think I am somewhat of a "realist" relating to
my photography. I view a scene, subject, etc and usually but not
always will try to record it just as I see it.

I find the notion of learning to see involves growing both in perception of our world, and inner vision as scenes and objects change in meaning and perception over a lifetime.

Realism has more facets, and dimensions and creative perspective than the term implies. Photography can simply be a means of viewing, and recording objects just as we see it. Photography can also take on new meanings by expanding and deepening our notion of "realism". The inherent paradox's in photography may eventually invite us into a larger world.

For example.Flat two dimensional photographic images in themselves are not real. They are translations or abstractions of three dimensional space, and as such imply visual and artistic choices. Photography is inherently unreal in that it is a fixed, frozen slice of life. "Realism" may be likened to a river of fluid movement moreso than a still photograph. Photography however as an art form, can be made to be an expressive medium, to achieve both more personal and universal realities, than "realism" suggests.

I imagine three distint phases of photographic development. 1. Snapshooting, without an interest in photographic issues.(" it doesn't look right"). which may evolving into 2. developing photograhic interests, skills and discipline with an eye intent on recording realism,(getting it right) which may evolve into 3. worlds of photography as an artists medium with visual interests: interpretive, and expressive images. I imagine you and i in this journey, and your fine stump series in particualar, drawn to alternating interests of "realism" and expression.

Not that I want to snapshot it, but I want the final photo to reflect what I am
seeing and how the scene/subject is registering in my mind as to
it's beauty (and I think all of nature is beautiful..from the tiny
ants to the mountains) or uniqueness...and every photo is unique no
matter who takes it. That is why I like to view all the photos
posted here everyday. I am especially fond of natures "textures"
and shadings and the natural lines.

When we rely on a recording mode of realism, we stress getting it right-and our efforts are more generalized. The creative mode is atuned inward nurturing and sustaining a vision as you have expressed " natures textures, shadings, and natural lines." You are indeed fortunate with this awareness,of the seed that motivates you. Were it me, I would persist and peel back yet another layer of the onion and be more specific still.Perhaps looking to where these visual elements can be isolated and then overlap.

Are you sensing the more interesting challenge may be how to overcome the dominante realism of the stump to express the more intangible lines, textures and shadings that inspire you? Here you have entered the world of the artist. Here the stump is the starting place. As I see it, here is an abundant resourse of creativity to return to, if you wish to make it so.

(My father taught me cabinet
making years ago and I just could not bring myself to ever paint a
piece of furniture. I feel the natural grain of the wood is too
beautiful to cover up). If you look you will notice nature has
many, many different types of lines, not necesscarily straight. And
for the most part they are not chaotic.

I agree with you. The flow and forming energy patterns of nature also inspires me. I feel it is the energy beneath the surface of things that drives the appearance of realism. I am deeply interested in the pathways natural energy expresses itself, such as branching, spiraling and meandering. I especially appreciate your example of the grain of wood revealing the cyclic effects of seasonal weather and yearly growth

Look at the woodgrain in an
oak board for example. IE..the stump photos..I just was not
capturing what I wanted to (the texture and shadings of it). I will
try again on that one.

And I hope you will continue to share with me and STF the stump series, as it developes over time. I think you would love the huge driftwood stump I brought back with me, this summer with stones bound up with the roots. I also own a painted stump sculpture, called "white Clench" by Jack Shadbolt.

There have been many times I go back to the
same place and rephotograph...light changes the whole perspective.
I also agree that a tripod and remote are necessary not a luxury
for photography. I never leave the house with the camera without
the tripod and remote. I'm not sure if you understand me here, as
i'm not gifted in writing like you are.

I though you expressed yourself admirably.

NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

Norman,
Your photos always intrigue me. I am amazed by your
writing....while I am "off the cuff"...you on the other hand are
very precise in your words and sentences you choose. I'm not sure
which I enjoy more. The photos or your writings. Although, I have
to admit I usually have to read them several times to get
everything out of them . You do make one "THINK".
Bill B
http://www.pbase.com/bill_b