One of the things that I (and others) say we like is about medium and especially large format photography is that it “slows down” the process of making images, with the implication that this is something that is harder to do with the advent of digital photography.
Certainly, with large memory cards and every image being “free” (they’re not, of course, but let’s not discuss that just now!), it can seem easy to just click away like mad. In fact, I often have my DSLR set to “continuous” (which means something ridiculous like 6fps – though I very rarely shoot more than one frame at a time). In the old days, before I bought my first DSLR in 2008, I used 35mm film all the time and often I’d use a single roll for each “event” in order to make cataloguing easier (sad but true!), and then hopefully one or two images on each roll would be vaguely ok. This meant, for example, that if going for a walk, I would use a whole film up so that I could easily identify the 36 or 37 images from one particular occasion (there was no EXIF data!). I know I am not the only person who did that, but one thing it did was force me to make photographs – and of course, many of them were pretty rotten. Somehow, I never really made the connection between “speed” – “thoughtlessness” – “quantity” – “rotten photos” or at least, it took me a while to make that connection! 🙂
This continued when I first bought a DSLR too, partly because, you know, photos were suddenly “free”(!) – I would take LOTS of photographs, on the basis that at least some would work out. Of course, many were deleted, and many reside on a hard disk, never to be seen again. It was my first weekend photo workshop with Bruce Percy in Torridon in 2009 that made me begin to slow down a bit, and I’m tremendously grateful to him for helping me to do that.
Now I go for long walks and whilst I often take a camera with me, I rarely even take it out of the bag other than to make a quick snap of something I might want to come back to later: most of my “real” photography happens when I go out in order to make photographs. But I know that I can now compose and create images more thoughtfully and deliberately at speed (I’ve photographed at events, incl. weddings, when that is a necessary skill), and I wondered if that might still be the case if I tried to use a whole roll of film in one go.So earlier this week, when we were going out for a family walk, I decided to “shoot a roll” and made a note of some conditions that I would use, setting myself some parameters (I was using a digital camera):
- I would take exactly 24 or 36 photos (i.e. a full roll of film)
- I would use only one lens (I chose to use a Lensbaby, a manual focus distorting lens… because, well, just because…)
- I would allow myself no chimping or subsequent deleting of images – this would be “a complete roll”
- I would allow myself to crop later to either 5×4 or square format if I thought that was appropriate – in the old days, I just cut prints to make them the size I wanted, so this seemed a legitimate reinterpretation of a pair of scissors!
- I would mostly use f2.8, partly to accentuate the craziness of the Lensbaby, partly because I knew that I could just be lazy by not changing the aperture (which involves swapping out little metal rings using a wee magnetic stick, and is a bit of a bother; however, it did mean I would need to focus pretty accurately).
So with these restricted parameters, I went with the family on a short walk through the woodlands at the base of Beinn Eighe. I made 24 images, as follows (click to show larger versions):
What thoughts emerge from this?
- It’s not a surprise that I used to stress over this kind of thing – 24 photographs in one go is really hard work, and I can’t imagine how I was able to take 36 photos in one go like this! I actually found this exercise pretty stressful, and the last two images are from the car park – I just could not think about making enough creatively interesting images fast enough.
- There is some duplication of vistas, partly because I couldn’t spend time thinking about the best way to make a particular scene “work” for me. And yet… none of these really “work” for me!
- Ignoring the distortions produced by the Lensbaby (why didn’t I just take a normal 50mm lens with me??), most of the images are vaguely ok, but they’re nothing very special – they are clearly composed at speed and with no contemplation time. Furthermore, I was constantly trying to keep up with the family – it’s notable that the one image (no. 13) that includes them shows them from behind – and that just adds to the pressure!
- The images that are ok follow very conventional patterns of imagery – rule of thirds and such like – and that is what makes them ok. I didn’t actively think about that kind of thing, it comes pretty naturally. However, there’s nothing like the sand/grass/sky image that I wrote about in my last posting, which is a more creative, imaginative and personal interpretation of a location than any of these images will ever be. These are mostly just pretty boring (though I quite like no. 21).
So in conclusion, my mental photographic processes have clearly slowed down considerably in recent years and they don’t speed up just because I am using a digital camera, even if every image is “free” (rather than nearly £5 for a large format image – that’s buying the sheet film and getting it processed… oh, don’t let me think about that too much!). And now when I’m out with a large format camera, I am mentally worn out if I take more than about four images in one go, because I now have patience and take the time to compose and think about them, never really in terms of cost, but in terms of a very simple “does it say anything” or perhaps better: “does it say what I want it to say?” I can easily take 30 minutes or more to contemplate and make a single image. Many of these tend to be images I want to keep and use, which none of the snapshots above really are. And this is not just about large format photography, however: I know that when I take my medium format or DSLR cameras out for landscape photography, I am also very slow and deliberate. It feels like a liberation from the pressures I used to put myself under. And that is rather wonderful.
And now, having inflicted lots of mediocre images on you, here’s one I rather like from a few days later. I took some time over this one, using my DSLR and a 50mm lens (my most frequently used focal length). I didn’t use a tripod, but lay in the grass to stabilise the camera and my thinking. This little row of buttercups by the shore line at Rhue, north of Ullapool, is very simple, and although they take up such a little space at the bottom of the image, there’s a tenacity to their joyous yet fragile beauty that contrasts with the dark hard stone behind them – and I thought it was rather lovely.Once I’m back home I’ll also get all my film processed, and then I hope to post other images from my time here too. All of them took longer than the “roll” above!
Postscript, 27.7.2015 (prompted by comments received to the original posting)
Of course, this blog posting is mostly about the reactive encounter with a new context. I am not seeking to make any comment about the thinking processes that go on before stepping out of the house. The key issue around making snapshots to come back to at a later date describes my way of working with subjects that I might find helpful for a particular theme a week, a month, a year later. Confusing the processes of conceptualisation and reactive thinking is easily done, and is one reason for a lot of bland photography – reactive thought is often mistakenly thought to be conceptual (it rarely happens the other way around, but it does also happen, with tedious and overwrought imagery being the result)
These processes are related, for sure, but are also distinct.
These processes also inform each other: I would assume that to be obvious to most people.