Fine art photography usually stands alone, appreciated by viewers who love the mystery and potency of the image without words. And the meaning of a work of music or a poem shouldn’t need an explanation. But as we become more avid visual consumers, are there legitimate places in the art world for the interdependence of photography and texts, where each needs the other to communicate something greater than the sum of the parts? I think there is.Read More
Fellow Photo Club member Beti Andric recently shared this from thisisthewhat.com noting that it is "work that matters."
Tom Stoddart: Women of Sarajevo Revisited
This past April was the 20th anniversary of the beginning of the Siege of Sarajevo. Tom Stoddart’s went back to photograph many of the people he had photographed 20 years ago. When a photographer goes back to a site, to a person, to me at least, and especially when the end result is a happy one, it brings so much closure. I wonder what it must have felt like for both the subjects, and Tom, to compare the now to the then. See it on Getty Reportage’s site, here.
For me, there is something as distressing as prolonged grief about this. How can I approach these moments of discarding without being confronted with questions of what matters and work that matters? Would these moments have had a different quality had the images been works of art? And who’s to say they weren’t?Read More
Perhaps it’s inconsequential that we are artists for the same reason that we breathe; art and breath are both life-giving. So, screw the question of purpose, concentrate on the breathing. Focus. Inhale. Exhale. Slowly, let it take us to a different place.Read More
Applying what I had learned, the images I captured during my second visit were better, and better again during the third. This is probably the key advantage offered by projects: they offer more opportunities for learning. Work that matters is work that enables us to become better at our craft. Work that matters includes those not-so-great, not-close-enough images that teach me how to better position myself, how to better frame the image during the next shoot. Honouring the demands of the project, I have to go back and I have to apply what I have learned.Read More
Looking at the piece in front of us, he tells me about ice, the qualities of ice. How air bubbles and impurities can be kept out during its production, how carving ice is like carving facets of light. He’s serious about this, excited in an understated way. He begins to tell me about carving a Star Wars character out of a 12 foot high block in Belgium last October, and I begin to understand how much he loves this work.Read More
“No problem,” he says. “You want to borrow one of mine?” Which one of us is in the right place at the right time? “It’s a slow card,” he says, “but it will allow you to get a few shots.” I’m grateful not realizing that my gratitude will grow over the next few days. I go in and walk around. I talk to one of the snow sculptors who’s standing with an electric chain saw in his hands. “How long have you been doing this?” I ask.Read More
“What good is that?” she asked. There was no malevolence in Honeylyn’s response. She’s the type of person with an overabundance of yeses and an unstoppable supply of offers to help with which an ill-intent cannot conceivably co-exist. A rhetorical question, she didn’t expect an answer, and I doubt she remembers saying those four words—"What good is that?" --four words that have stayed with me. Here is a person, another person who is interested in seeing my photography, and she, like the horse owner, has no access to my images. So, why am I carrying a camera?Read More