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Taking and not taking photographs

Paul Butzi, in his article The photos not to take discusses his personal code when it comes to taking photographs:

Beyond the obvious trespass issues, though, there are other situations where I won’t open the shutter. If I’m setting up, and the property owner comes out and asks me to stop, I stop. I stop even if I’m on a public right of way, and have every legal right to be where I am and photograph whatever I can see. I don’t want the people who live where I’m photographing to feel that I’m an intruder, or that I’m a threat. Will I talk with them, explain what I’m doing, and try to persuade them to let me photograph? Sure – I won’t push hard, but I’ll give it a shot if I can keep it friendly. But while I’m being charming and persuasive, I put away the camera and the tripod, to make it clear that I’ve stopped. And, in the end, if they don’t change their mind, that’s it. It’s their choice. If they don’t want me to take the photograph, I don’t want to take it.

Paul also writes that …the fact that we have a legal right to do something doesn’t mean that it’s right to go ahead and do it… and Is this what we’ve come to – that we’re so intent on making our art that we’ll engage in deception to get the photo?

Compare and contrast to this report on the Leica M8 in Marrakech by, I’m assuming, Michael Reichmann:

Balancing not wanting to give offense, and yet responding to some of the most exotic street photography opportunities imaginable, leads to developing a few strategies. For example, I would sometimes ask my wife to pose as if I was taking her picture, while I was actually photographing the people behind her. Even then, it was not uncommon for people to turn away or cover their faces.

Ones ability to effectively do street photography demands appropriate technique. This means a small camera, held discretely in one hand. No long lenses, no motor drives or large battery grips, and definitely no flash in the souks.

See an opportunity, position yourself, lift the camera to the eye, frame and shoot. Camera down before anyone has time to notice, or to object. If they object after the fact, smile an apology, and move on. It works.

I’m not going to fall into the trap of making a moral judgement about these differing views. Both Paul and Michael are serious photographers and both go to great lengths to create their images but both have defined different boundaries within which they are prepared to work, as I guess we all do.

So what’s my point? My point is that photography, the kinds of images that we produce, say a great deal about the limits we put on ourselves and these limits are a reflection of our own way of living our lives. A body of work represents more than just the subjects, it represents the way the photographer looks at the world (visually) and also the way the photographer fits into that world.

Absolutely nothing new there, it was just that I was struck by the contrast of the sentiments within the two articles. Probably had something to do with me reading them one after the other.

Could you have resisted?

This article on the Online Photographer is a sublime example of how a small, but significant decision regarding composition can change everything.

The fear of heights is a common context. The photographer was fully aware of this and the resulting photographs are a triumph in the presentation of that context.

Having said that, sheesh, the guy with the tripod is a loony.

Great shot….love it

While reading On Being a Photographer by David Hurn and Bill Jay the following passage by Bill struck me as having particular merit with respect to the way I react to images:

The best pictures, for me, are those which go straight into the heart and the blood, and take some time to reach the brain.

This statement is just another way, I guess, of admitting that there is a disconnection between the way one subconsciously processes, evaluates and appreciates an image and the way that evaluation and appreciation is expressed.

It’s one of the reasons why I often find the critiquing of images a difficult process, sometimes to the point of failing utterly in the expression of that critique.

Sometimes it’s necessary to simply say, great image….love it and leave it at that, though it must be said that a great deal of work should be done before saying it.

It’s always someone in some kind of shed

Here’s an interesting article from Wired Magazine on the new work by film maker Darren Aronofsky. The film, titled The Fountain, started on a relatively big budget which then had to be dramatically downsized. This, and other reasons, encouraged Aronofsky to seek out new ways of delivering the kinds of special effects demanded by modern Sci-Fi audiences. The following starts at the bottom of page 3 of the article:

…Aronofsky’s team discovered the work of Peter Parks, a marine biologist and photographer who lives in a 400-year-old cowshed west of London. Parks and his son run a home f/x shop based on a device they call the microzoom optical bench. Bristling with digital and film cameras, lenses, and Victorian prisms, their contraption can magnify a microliter of water up to 500,000 times or fill an Imax screen with the period at the end of this sentence. Into water they sprinkle yeast, dyes, solvents, and baby oil, along with other ingredients they decline to divulge. The secret of Parks’ technique is an odd law of fluid dynamics: The less fluid you have, the more it behaves like a solid. The upshot is that Parks can make a dash of curry powder cascading toward the lens look like an onslaught of flaming meteorites. “When these images are projected on a big screen, you feel like you’re looking at infinity,” he says. “That’s because the same forces at work in the water – gravitational effects, settlement, refractive indices – are happening in outer space.

The microzoom optical bench furnished Aronofsky’s film with something neither a computer nor an old-fashioned matte painter could deliver – chaos, in all its ultra high-definition fractal glory. “The CGI guys have ultimate control over everything they do,” Parks says. “They can repeat shots over and over and get everything to end up exactly where they want it. But they’re forever seeking the ability to randomize, so that they’re not limited by their imaginations. I’m incapable of faithfully repeating anything, but I can go on producing chaos until the cows come home.”

Sally Mann on BBC4 tonight

For those that are interested there is a documentary on photographer Sally Mann on BBC4 tonight at 10pm.

Photographer Joe Tree has announced a public beta of his new photoblogging site

We’re trying to do something quite different from anything else out there at the moment. There’s a very strong emphasis on clean, simple, uncluttered design and simple navigation. It’s not going to be a Flickr style free for all – we’re only really interested in people with great images or an interesting story to tell.

If you fit the bill and you’re interested in starting your own journal, please sign up!

An example of the individual photographer areas under can be seen here.

The photographers of Chapter Thirteen

The short photographer introductions on the Chapter Thirteen photography site are a refreshing giggle. Take David Toyne for instance:

David Toyne – Is terrible at photography and wants to share his frustrating experiences with you. This is in the vain hope that you can save time, money and tears by learning from his crass errors. His ambition is to exhibit pictures without being punched in the face by the paying punters (not like last time). His photographic eye is so cross-eyed his horizons have been known to be vertical. Rumour has it he’s only on the allowed to feature on the site because he hosts it.

It’s good to see a little humour in a field that’s generally swamped by sublime artist statements.

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If you’ve not paid a visit to the BirdBlog over at auspiciousdragon yet you are missing out on a real treat. Lots of birds doing what birds do in a very fluid fashion.