« […] Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to (discover**) get to know the ice. » — Gabriel García Márquez‘s first sentence on 100 Years of Solitude. this came to mind as I took my daughter to get to know the French garden trees, which are manicured like hedges. for me, they bring to mind the variations of Claude Monet‘s haystacks, with many photographic possibilities. the amount of time I spend looking at them, examining for the time of day, and the changes with seasons is unlike many other repeated themes in my photography. as my friend Peter Keyngnaert (@peterkeyngnaert) mentions on a reply: « Well I guess you HAD to show [her] those! », but I think in the end it was an excuse for me to visit the park at St. Germain en Lay and know that I have to return for more photographs at different times of the day, and seasons.
** why is “discover” used in translations, when the word used by GGM is “conocer”? I can never be sure. there is “descubrir” in Spanish for “discover”. such a translation robs the first line of much of its magic. ¯\_(ツ)_/¯
link: typically, I photograph them as lone, singular, creatures and present them in varying effects, like this other version in the same park [ link to Instagram]
Venice has re-kindled some ideas on photography. there was a philosophical view that Venice developed in a very different way to the European cities that I have been able to visit— or let me say, any cities I have visited outside of Japan. there is also the sentimental search for a replacement to Old San Juan: a bubble that has an insular growth and texture to experience. (worth noting that both are small islands next to a their metropolitan mainland.) one of the photographic ideas to seek, out of many, is the projection of light due to the way the location was built. from the strong usage of light/shadow by Hungarian (André Kertész) and Czech (Jaromír Funke) photographers for Still Life, it is easy to extend this concept to the Still Life of a city, and its many variations due to the time of day and the consequences of people’s actions. the part that is not easy is that, as it is well-known, there is the beauty of Venice— photographed a million times over— and one having to look elsewhere. this is not about seeking something new, but to find some comfort in what has become familiar through other locations.
link: other examples posted to my Instagram account, starting with the first photo, and working forward in time from it.
being an autodidact in the age of L’internets is quite interesting. mainly, the outlets are photo-social networks, and the development is quite influenced by what one sees there (to accept or repel), and the urgency to acquire the social currency— such as comments and likes. when I think back on the days of flickr, and Instagram since its inception, there is no doubt that I could not divorce the social from the photographic attempts. however, I like to think that there is a big difference these days to be able to find out what is possible with owning a camera (or two): 1. I photograph what I want, and thinks develops a language and not a style; 2. photo-social sites are just a sharing mechanism, which is to say, more social than photographic**. while previously I would search for a photo to take that would give me currency at the sites, and develop by mimicking others (famous or not), these days I just search for something that connects, and use a camera to record it. one such interest is that of chairs at Parisian parks. I like to go in the afternoon, if possible, and find their arrangement as left by peope, and think “a conversation happened here”— even if, like this one, it looks like someone needed to rest their feet— and try to give them a conversation context via composition. the photograph, indeed, is an artifact, and its judgment is as much divorced from the art as possible.
** this is an attempt to not be overtaken by the grey goo.
link: “grey goo” in PressPlayPause [ link ]
there are so many ways to take a portrait: fill the frame, or face on center, and they can all be the best way to photograph the sitter. yes, photography should not have a formula, and just have a sense of the sitter and a language that each composition provides. Richard Avedon worked with a few approaches to this, in addition to lens distortions. a preferred method, for me and what I appreciate in others, is for the sitter to be off-center. in this way, I must admit, the sitter is the last selection for the photograph, and the scene (to conform to a desired geometry at play) comes first. an equivalence I like to convey is to a song: the instrumental part is composed first, and it must work as an instrumental, and then one adds the lyrics to suit the instrumental version. in movies, this approach was exceedingly good, and done very often, in Ida. (as best as I can discern, the opposite approach would have been most frame compositions in Yasujirō Ozu‘s movies, and Richard Avedon (again) with his white background. in this “off-center + the sitter comes in last” composition, there is a bit of danger: who is the protagonist? the background or the person? what has been done to the portrait by (most likely) cropping parts of the person out?
link: some of my experiments can be viewed at liminaleye‘s selection of the Incidental Interiors series.