Tag Archives: process

Short reflections on photographic ‘projects’

In my Wind power opening, I said this was not to be a ‘project’, but that I understood it as being something more akin to a ‘book’. Rob Hudson picked up on that in his comment and asked why I did not want to use the term ‘project’.

For me, this is really very simple. It is, as Rob suggests, something to do with nuance of language, though perhaps not necessarily in the way he meant it. For me, it is about a way of thinking about what I am doing. Let me take a step back from the wind farms…

When I was engaged in working on the What Lies Beneath series from autumn 2011-autumn 2012, I treated it as a coherent body of work that started with a particular image and ended with another. I had made photographs before this that could, from the point of view of the subject matter (water and what is beneath the surface of the water), be included in the series, but they were not made with the intention of exploring the issues that the series was seeking to explore, and so it did not feel ‘right’ to include these images. I was trying to use the creation of photographs to explore a particular theme. In that sense, What Lies Beneath was a project, something limited in scope and intent.

Perhaps it is helpful to think about this in another way. Although I have not completed any kind of photography degree (though I’d love to do so!), it seems to me that ‘projects’ are almost a clichéd part of such programmes of study. The term points to the time-limited and carefully circumscribed nature of what is being done, with the aim of eliciting a certain kind of response or engagement, particularly one that can be assessed in some way (I recognise this pattern from my own work as an academic in a different field!). That is fine for certain contexts, such as university work that needs to be assessed, or something like What Lies Beneath, or another mini-project of three images called Love Me As I Am that I am intending to create soon about a personal story – but it is not the right term or context for all collections of images.

So with Wind power, I am looking at something much more expansive. I have already used images going back several years in the first ‘chapters’ – and I have a number of even older images that I want to use, some from about 20 years ago. Although I had obviously not thought about working on a photographic exploration of wind farms 20 years ago, I was photographing wind turbines 20 years ago, and so these machines have clearly been a source of fascination for me for a considerable time.

That is why thinking about a ‘book’ makes more sense to me for the wind farm subject. Writing a book involves drawing in all kinds of material from all places and times, in order to communicate (what will hopefully be!) a coherent narrative: a narrative that is meant to address a particular concern or theme. In a novel or a poem, for example, this might be about addressing elemental issues around the human condition, expressed through the lives and experiences of characters. In an academic context, we might find similar themes, addressed in terms of reflections upon other texts (understood as broadly as possible). In auto-biographical contexts, the author reflects upon their own life and seeks to offer some insight that might be of interest to the reader. And so on – in all cases, authors draw on a vast range of sources and nothing is really out of bounds. In my own academic work, on European missionaries in the 19th and 20th century Middle East, I have drawn upon sources such as letters, committee minutes, and diaries, and anything and everything that seemed appropriate beyond that: other academic studies (of course), but also poems, novels, hymns, photographs, drawings, film footage, interviews with descendants…

And that is how I envisage Wind power going: I want to draw on all kinds of sources, whether these be ‘historical’ photographs that I have taken, scientific data – which I will hopefully get at least broadly right, drawing on friends like Mike Colechin for help (he’s an engineer when not out playing with a camera!) – literary texts, interviews and more. No doubt there will be sources that I cannot envisage or imagine at this stage: that happens in my academic work, and I see no reason why it should not happen here.

All of that is so much broader than a ‘project’ – in fact, it’s more like a… book!

Crichton Castle valley, 4x5" Fuji Provia 100F, 180mm

Crichton Castle valley, 4×5″ Fuji Provia 100F, 180mm

P.S. And here there is a little bit more water, and stones under the water… but it is clearly not a part of What Lies Beneath! 😉 No, it’s just a rather pretty image I made when out with Mike Colechin in April, with nicely muted spring colours that the Fuji Provia 100F has captured rather well (I’ve made no adjustments to the scan). This is one of the images I was referring to a few days ago in a tweet, expressing delight at the wonders of large format photography.

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Nervousness and questions of interpretation

I should be finishing the first page on wind farms (or working on a lecture for tomorrow!), but I wanted to share some reflections that I have found I can articulate quite clearly at the moment…

There are good reasons not to publish photographs. Some are very good reasons – the best reason of all probably being that the photograph in question is rubbish! Rubbish? Is that too harsh? How about “does not correspond to the pre-visualisation”?! (By the way, Alan Ross has just written an interesting post about Ansel Adams’ first moment of real pre-visualisation, if you’ve not come across this story before.) Of course, some are just rubbish! 😉

However, many are not. Many might even be rather good: they are technically fine, they are reasonably well composed, and the exposure is sufficiently on target for it to be usable. And yet… and yet…

The safety of darkness (Loch Leven, December 2012)

The safety of darkness (Loch Leven, December 2012)

… I don’t then click that “Export” button in Lightroom – the first step in moving an image onto my website and making it available to others to see. It’s not that I worry about what people will think of it: there are a select group of friends, particularly on Twitter, whose opinion I greatly value, but I wouldn’t not publish something just because I thought someone might not like it, nor would I publish something just because I thought someone might like it! Those who know me personally will know that I’m not really that bothered by what it is that others think in this kind of context.

The welcoming warmth of the cold (Loch Leven, December 2012)

The welcoming warmth of the cold (Loch Leven, December 2012)

No, the problem – if problem it is – is that I am not happy to share the image. My finger metaphorically (and sometimes literally) hangs over Lightroom’s “Export” button, and I study the image once more. And thoughts appear, almost as involuntary spasms in my brain: “it’s just another hillside”, “haven’t I photographed XYZ frequently enough?”, “what do I think I’m really adding to the world with this?” – and so on. Whilst some of these stop me, none of them necessarily do so. But there is another thought that does. So I don’t then click that button – and then nothing appears for others to see. Others being people like you, reading this. What is that thought? Before I come to that, it’s worth taking a step back.

The problem – if problem it is – is simply that in the meantime I know I have sufficient technical ability to be able to produce a certain kind of image and for it to come out reasonably well. I have many technical skills still to learn and don’t deny that, but I have come a long way from relying on the ‘auto’ setting! Now I’m wanting to inject more into the image, more than compositional ability, exposure, and so on. Now I seek to impart meaning through it.

First flight (Loch Leven, December 2012)

First flight (Loch Leven, December 2012)

However, the problem – if problem it is – is that this meaning is not just down to me. Yesterday, the wonderful Deborah Parkin released this photograph, which I interpreted as the child (Deborah’s daughter, Fleur) being content and self-assured; Lucy Telford, another talented photographer, said that it “Captures that self-contained feeling – poignant – signs of growing up, going inside oneself, inevitable but somehow sad.” Deborah responded to us both, noting that we saw the image differently, but with some commonalities. It is stating the obvious, but so much of the interpretation of an image is down to the viewer. Sometimes this chimes with the intentions of the photographer (for example, I understand from their interaction on Twitter and the comment she left that Rob Hudson’s interpretation of Lucy’s recent new image corresponds closely to her initial vision), but sometimes it does not. And what makes me far more nervous than someone misinterpreting an image, is someone interpreting it correctly.

The great escape into freedom (Loch Leven, December 2012)

The great escape into freedom (Loch Leven, December 2012)

The problem – if problem it is – centres around how I deal with that. On the one hand, as I said, I am rather stubborn and that means I don’t worry about what other people think of what I do, but there is another side to that. I am aware that I see some things differently to others. In Assynt in autumn 2011 Bruce Percy looked at images I had made in one of the workshop’s critique sessions, and said something like, “ah yes, you see differently” – not as a judgement, just as a comment.  What I see, and what I want others to see, varies, of course.  All the images in this posting come from a morning last December, spent on the shore of Loch Leven, watching the sun come up – except that I wasn’t that bothered about seeing the sun itself, of course – and they communicate something for me. Should I give them titles that simply say “Loch Leven, 2012”, or should I give them titles that point to my mood at the time? Obviously, I have done the latter, but it takes effort. I was reflecting on a particularly difficult autumn teaching semester at the university – difficult not because of the students, of course, but because of management, and I was wanting to reflect on those experiences. Whether they communicate the same thing for you as they did for me, I don’t know. Do I want to explain what they do for me beyond what I have done here? No, I do not. But do I want to share these images in case you work it out? Of that, I’m not always sure.

The last dark refuge (Loch Leven, December 2012)

The last dark refuge (Loch Leven, December 2012)

Despite what some may think, I’m a fairly reticent kind of person and do not like to give much away. Clicking that “Export” button in Lightroom is the first step not only to others being able to critique an image (“it’s just another hillside!” being an entirely fair response!), but more importantly, it gives others – that’s you – something of me. You get to see something of me, and I’m nervous about showing that, giving something of myself away. I’ve described a related issue in connection to photographing a model (the first image on this page), but my photography is also giving something of me. What you see might not be what I think I am showing, but… it might be. The danger – if danger it is! – is that you see what it is that I am seeing, as happened in the Lucy/Rob example given above, and that makes me nervous. My stubbornness means I don’t mind what people think of my images (good/bad/indifferent) because – as I don’t yet tire of saying – I am making photographs for myself, nobody else. They explore things for me, they explain and dissect and reassemble thoughts, they reveal hidden depths to me, and make me reflect on who I am and what I am doing. And now I’m supposed to share that with others, with you? Are you surprised I’m nervous about doing so, that I often can’t quite make my finger click that “Export” button?

Resignation, followed by return (Loch Leven, December 2012)

Resignation, followed by return (Loch Leven, December 2012)

And yet – getting over that and sharing images, sharing myself, is also a privilege. So thank you for taking the time to read this posting, to look at the images, to think about them. Now, I had better click “Publish” before I change my mind and delete this posting…

Photography as an expression of self

What this is not: a theory-laden exploration of self-identity.  Or, at least, not much of it is.
What this is: quite long! 🙂

I have been following various recent discussions on Twitter about creativity between some very different photographers.  Seeing the ways in which people have interacted and some of the statements that have been made has been thought-provoking (and at times rather irritating!).  The debate initially came about because of another posting from Rob: A poem on a misty morning.  One of the people in these debates, Rob Hudson, eventually felt so misunderstood that he sought to articulate his thoughts in a blog posting (helpfully entitled My views on landscape photography – “it does what it says on the tin”, and is worth reading).  In the course of all this, he also posted this tweet:

Do read the article at that link, if you haven’t read it already; it is a well-written and thoughtful piece.  To begin with, however, I want to take issue with Rob’s tweet, because I think it can help elaborate on some important issues.  I am aware that tweets are often written in haste, and given the 140-character limit maybe not always be formulated in a way that might more accurately reflect the author’s views, but this does give me an opening to reflect on my theme.  But first, a story from a different context.

Aspirations and realities

Several years ago, I was in a large meeting of Members of the Iona Community, debating some statement about the Community’s purpose.  I have been a Member for many years now, and these lovely people are my friends, in some senses I even regard them as my family.  And as with all families, there are some crazy people.  Sometimes, the crazies get a bit full of themselves, and I vividly remember several people standing up and in the heat of the debate arguing that we should be describing ourselves as a ‘prophetic community’.  Eventually, Kathy Galloway, poet, seanchaidh, theologian and all-round wise woman, stood up and said:

Prophecy is in the ear of the hearer, not the mouth of the speaker.

She then sat down, and the room fell into complete silence for a moment.  More sensible discussion then ensued – with that one line, she had silenced the pomposity of the lovable crazies and clarified the terms of the debate.

Iona Abbey, ca. 1990 or 1991

Iona Abbey, ca. 1990 or 1991

I think we need to think about creativity in a similar way.  I’m not sure we can aim to be creative, instead I think we should aim to be truetrue to our subject, true to our intentions, true to ourselves.  I’ve written about similar themes before, in less explicit fashion and in other contexts (for example, here and quite a while ago now, here).  I think one of the key issues is the importance of reflecting, of thinking, and not just of ‘shooting’, as another wonderful contemporary photographer, Christopher King, expressed it on Twitter a little while ago:

Torridon, Scotland (click image for more Torridon photographs)

Torridon, Scotland (click image for more Torridon photographs)

One of the issues that arises here is, of course, knowing what and how to think!  Working that out can only happen over time, and by doing: I am very aware that I am on a journey with my photography, a journey that has taken me from seeking to make pretty images such as this landscape in Torridon, to images that ‘do’ more, at least for me.  This is something that I continually struggle with.  It has to do not only with how I understand what that ‘more’ is, but with how I might go about achieving it.

There are, I think, two aspects to this.  The first is very simple: learn technical skills.  This is rather boring: it is something that happens through making images and learning from what has worked and what has not, learning from other photographers about how they created certain effects and so on.  All this is, of course, important to some degree, but it is mostly a bit tedious and I don’t want to waste time on it here.

The second aspect is more complex: if I say ‘we should aim to be truetrue to our subject, true to our intentions, true to ourselves’ then the obvious question to ask is ‘what is true to my subject, true to my intention, true to myself’?  These are all related and inter-dependent, and I want to elaborate on each of them briefly.

Being true to my subject

Stephanie (click image for more photos of her)

Stephanie (click image for more photos of her)

One of the prompts for the recent Twitter debate on creativity was the recent debacle over the Landscape Photographer of the Year competition.  I disapprove of such competitions and don’t want to discuss this story in any detail, but in short: the winning image was withdrawn and replaced with another after it became clear it had been manipulated in such a way as to break the rules, which specified minimal manipulation of the image.  Whilst there are complex questions around what such representations mean (and I think Jean Baudrillard would have had much to say on this story!), one interpretation of the story is that the photographer had not been ‘true’ to his subject.  Some people might say that landscapes can be more difficult than portraits in this regard: Stephanie told me that she likes this portrait, and, as I note on the page that this comes from, she has used a version of this image herself – so it might at first seem as if I am being true to the subject, if even the subject likes it.

However, being true to a subject does not necessarily mean that the subject likes the end result or that something should ‘look like’ whatever was in front of the camera.  This next image, from my What Lies Beneath series, did not ‘look like’ this, because we do not see moving water in the way I have photographed it here – and yet I would maintain that it is still a true representation.

Glen Affric (click for more What Lies Beneath images)

Glen Affric (click for more What Lies Beneath images)

Some photographers, such as the wonderful Lucy Telford, create images that sometimes bear only a passing resemblance to what something ‘looks like’.  And yet I would argue that Lucy is being completely true to her subjects.

So how do we know when we are being true to our subject?  I think it is not enough if someone says they like it and feel it is a good representation, and in some cases, that might even be counterproductive: I have made portraits of people that they do not necessarily like (I’m sure we’ve all had subjects say ‘I look too fat/tired/pale/silly/worried in that photograph’!), but which I think accurately reflects who they are in some way.  I therefore think I am being true to my subject.  And this takes me to the next point: the photographer’s intention plays a key role in whether a photograph is true to the subject.

Being true to my intention

Some photographs (actually, quite a few in my case!) don’t work out, and at the moment I can only be rather vague about how this relates to being true to my intention: perhaps this is about honing intuition.

What (doesn't) Lie Beneath I

What (doesn’t) Lie Beneath I

Sometimes an image appears to be technically in order, and I might even feel it to be true to my subject – but it doesn’t actually do what I want it to do.  After releasing my What Lies Beneath series, I also put some images online that didn’t quite make it into the series.  This is an example of the rejects.  I was reasonably happy with these images, but none of them belonged in the final set.  The reasons varied.  Apart from the fourth image, which predated (by a matter of hours!) the beginning of the series in my head, all the others just didn’t evoke the right emotional reaction for me.  It is very difficult for me to articulate precisely what that is, and I’m not going to try and do it here.  I spent a long time with each image, studying it, letting it work its way into my head, seeking to ‘befriend’ it – a difficult selection process.  But some photographs just were not right – they didn’t seem to be sufficiently engaging or they didn’t have the emotional connection I was trying to seek out.  Whilst I feel I can’t say much more about this, it does point to the third aspect, because part of what I’m saying is that being true to my intentions involves being self-aware enough to be true to myself.

Being true to myself

Click the image to read why this doesn't work

Click the image to read why this doesn’t work

I have explained before why I think this photograph does not work.  The fundamental problem is that what we wanted was to communicate a feeling of loss and abandonment, and what I have created is an image that emphasises Stephanie’s breast.  But I didn’t want this to be about her breasts (and neither did she!), and being true to myself means not using this image (other than to illustrate a point, I mean – it’s not in my galleries or for sale; I feel I want to add that this photograph comes from 2009, and I hope that I would approach it differently now, taking in the entire frame rather than focussing on her facial expression before squeezing the shutter).

Being true to myself means that what I really want to create in every single image is something that is of me – and photographs that focus just on a woman’s breasts are not what I want to create.  Portraits of people are in some ways also self-portraits (as Oscar Wilde and numerous others have said), but so are the landscapes I photograph.  Therefore, whilst the monochrome portrait of Stephanie above communicates something of her joyful approach to life, it also communicates something about me (despite the faux-grumpiness I often exude, I am mostly optimistic and take great pleasure from being alive!); the landscapes I photograph are meant to do that too.  This may not always be obvious to others, but – and I’ll come to this in a moment – I don’t really care what most others think about my images.

Dornoch Sands (click for more Dornoch images)

Dornoch Sands (click for more Dornoch images)

For example, this image from Dornoch Sands communicates something about my state of mind and thinking at the time I made it. It may be that this is a bland blue nothingness to most people who see it, but to me it conveys something very important.  There are various factors at work here: the expansive depth of the sands, the sky and the clouds, the distant hills, the magical dawn light – all speak of home to me, though I had never been to Dornoch and the surrounding area before, and had spent just a few hours on this beach.  Nonetheless, there was something inviting, welcoming and generous about what I was encountering, and that is what I have sought to capture here.  Whether I have done that for anyone else doesn’t really interest me.

Having said that I often exude a faux-grumpiness, it may seem as if there is nothing ‘faux’ about it!  I’ve said I don’t care what most people think of my images, I am not interested in whether they generate emotions for others… surely that makes me a grumpy misanthrope?!  Far from it…

The question of identity

Kwame Anthony Appiah, one of the truly great philosophers of our age, has written a profoundly important book on The Ethics of Identity.  He discusses the need for us in the contemporary world to pursue what he calls ‘rooted cosmopolitanism’.  This, he argues, is a way of engaging in the world that allows the individual to make a life for themselves (the classical task of modern individuality), but he connects this individuality to the global context we are in and the ways in which we relate to others.  We need to understand our own place in the world in order to be able to engage with it.  What and who we love needs to be clear to us, because without that we cannot relate to others: ‘no island… is an island’ (p219).

What I want to glean from this relates to the first part of my statement: ‘we should aim to be truetrue to our subject, true to our intentions, true to ourselves’.  I have explored, briefly, three aspects that I suggest constitute being ‘true’.  As should be clear, these are all aspects of our identity, and identity can be formed in numerous ways, for example:

  1. ascription – to attribute an identity to someone (e.g. ‘you are… [something]’ – clearly, this is often problematic because it silences the voices of others and casts a singular identity upon them, something that Amartya Sen criticises)
  2. treatment – to act as if someone belongs to a particular group (e.g. ‘women are… [something]’ – but this silences a collective group that may not choose to mark any common identity in this way at all – for example, in certain contexts, being women might not be important to the people concerned, whereas being photographers, for example, might be more so)
  3. identification – when someone uses particular markers to identify themselves (e.g. ‘I am… [something]’ – this allows individuals to speak for themselves).
Ardalanish Bay (click for more Mull images)

Ardalanish Bay (click for more Mull images)

We all, of course, aspire to the third of these possibilities – who would not want to be in a position to define themselves, rather than be defined in some way by others?

And yet, this is not easy!

Above all, it requires self-knowledge, self-understanding, self-awareness.  We need to know what our roots are before we can engage with the cosmopolitanism of wider (photographic) society, and that means we need to know what we want, what we are trying to achieve, and how we might go about portraying this in photographs.  Most of this activity is not about thinking, it is about feeling, about emotion.  This happens by listening: to ourselves and to the landscape, for example – it is always possible to force a composition when out somewhere, but to engage with the landscape, to really begin to understand it, requires more.  Michael Jackson, who photographs just one beach, is an exemplar of someone who listens to the landscape and himself – and his images convey profound personal emotion.

In the course of the Twitter debates, I have seen the term ‘workshop photographers’, meaning those who go on workshops and produce images similar to those of the workshop leader.  Now, I have been on two Bruce Percy workshops and have benefited from them enormously, but his images are not mine.  I do not want that photographic identity to be ascribed to me (‘oh, look, you can tell he went on one of Bruce’s workshops’), nor do I want to be treated as someone who makes images in a ‘Bruce Percy style’ (not that I could or would, and Bruce wouldn’t want it either!).

Instead, I want to make my own images that are rooted in my own experience, that come from my own listening to the hills, my own engagement with my subject, my own conversation with the individual I am photographing, my own understanding of my place in the wider cosmopolitanism of the world.  My photographs should be about my voice.  I need to know what it is that I am wanting to express with my images – and my sense is that I am gradually getting there, gradually finding my own way to express my thoughts in my photographs.  Getting there requires a certain level of stubbornness (something I do not lack…!) and the ability to persist with something, even when others have no idea what I’m trying to do.

Tolastadh Chaolais, Isle of Lewis (click for more What Lies Beneath)

Tolastadh Chaolais, Isle of Lewis (click for more What Lies Beneath)

I have found that there are many people who would look at an image such as this from Tolastadh Chaolais and ask why I pointed the camera downwards instead of seeking to capture the fantastic hilly vista cliché visible from the road.  Part of the process of finding my own voice has been to differentiate between (a) the people who say that, and (b) those who ask what it is that I am trying to do, or find something for themselves in the image.  That is what I meant by not caring what other people think – if I pander to the beautiful hilly vista people and produce clichés, then I miss the stones and grasses under the water that actually speak to me, if I take the time to listen.  Being true to my subject, my intention, myself is what creates my identity, and enables me to be rooted in a wider – cosmopolitan – context, and this identity-construction is, of course, an on-going process.  I’m not, in the words of Rob’s tweet, trying to be creative, I’m just trying to be… me.

Two final thoughts

Firstly: doing all this is about being whole people.  Photography is not my ‘hobby’, in the sense that it’s something I do in my spare time for pleasure (I’m reminded of the Edinburgh-based artist, Trevor Jones: ‘Whoever says painting is relaxing isn’t doing it right’).  It’s an integral part of who I am, as is my academic work, and my engagement in contemporary Middle East issues – and all of it needs expression.  That is one of the things I was trying to communicate in my What Lies Beneath series, and it is also why it grates and irritates me that a student resource page I used to have on this site had to be moved due to administrative managerialism (see e.g. Richard Roberts’ article on this, summarised in a short blog posting here) in case students – who are not as stupid as the university’s managers seem to think they are – thought the university was endorsing my photography.  All of these things are part of me, and I seek to live out my identity in my academic work, my writing, and my photography.

Secondly: all of this requires effort, and in some ways, courage.  Many of us are conditioned away from listening to ourselves (‘scientific medicine’ has often led us to ignore our bodies and seek a ‘fix’ for ailments, for example).  It is, of course, immensely rewarding to do so, but the effort is a strange one.  Much of the time I find the effort is about the need to stop trying to constantly do – it is about being still and listening to the inner voice we all have.  Letting that voice come to the fore is a risky business.  We may find things out about ourselves that we would rather not know, or rather not share, and doing so can involve courage.  We are, after all, exposing something of ourselves to others, and that makes us vulnerable – it’s like becoming naked.  On the other hand, it is only through allowing ourselves to be touched at our core that we can truly be who we ought to be.

Finally, one last thought from Christopher:

Warm thanks to Rob Hudson for helpful comments on an earlier draft of this text.

Why workshop?

A while ago I mentioned on Twitter that I had booked myself a place on a photography workshop. Someone commented on this in what felt like a throw-away remark, saying they had never seen the point of going on workshops. So I – in 140 characters! – sought to explain why this was important to me. Now that I’m just back from the workshop I booked on at the time, I thought I’d try and say more about it, and include some images from the time away (these are just the digital ones – I have yet to take the film rolls to be developed).

Achnahaird Bay

Achnahaird Bay

Firstly, it’s worth noting that I have no formal artistic training (unlike my correspondent, who has, I think, a degree in art/photography), and so for me, I hope that a workshop can serve partly to teach me something. Secondly, having a pretty intense full-time job means that if I get the time to go and photograph for a few days and do nothing but think about photography, that is really fantastic!  The week was a proper holiday, and I didn’t read a single academic text whilst away (even though I did have a book with me… I rarely travel without one!).

Thirdly, and most importantly for me, engaging with a photographer leading a workshop is about having someone critique what I do and help me move forward in my thinking and my photography.

Loch Bad a' Ghaill

Loch Bad a' Ghaill

My week away was with Bruce Percy, who has been running workshops for several years now.  Exactly two years before going on this Assynt workshop, I went (with my neighbour, Mabel Forsyth) to Torridon on one of his weekend workshops.  That was a great experience, as I wrote about here at the time.  So I was confident the week in Assynt would be a good week.

There are some people who seem to be workshop-regulars, going from one to the next all the time. I am not like that: I have attended a couple of other day-workshops in recent years, but have not been on residential workshops other than the one in Torridon and this one in Assynt.  So if you’re wanting me to offer comparisons, I can’t do so (though I have now heard quite a few horror stories of other workshops, some by really famous photographers… and no, I won’t say more on this).  My main purpose in going to Assynt with Bruce was that I wanted to rediscover something about my own reasoning and motivation for making photographs – especially landscapes – that I had found increasingly difficult to identify in recent times.  I felt I knew enough theory in terms of operating my cameras (though of course, Bruce was able to help me improve in certain areas, such as my exposures and hyperfocal focusing). But I felt I needed input on more important things, especially aspects of composition and how and why I frame the way I do or give more attention to certain things in a scene, and what all that says about my own ‘visioning process’ (sorry, I think that is a rather horrible phrase, but I can’t think of a more suitable one; pre-visualisation covers some of it, but is not the same thing).

Glencanisp Lodge, with view to Suilven

Glencanisp Lodge, with view to Suilven

Of course, this is not something that I discussed in any detail with Bruce before or during the workshop, because I knew from previous experience that this might come anyway – and it did.  One of the two key things for me in thinking about a workshop is that I have to like the photographs that the workshop leader makes, and I really love Bruce’s work – it offers depth and challenge, simplicity and elegance, in both his landscapes and portraits. Of course, I have no desire to create images that are like Bruce’s, even if I could do so, since they represent his vision and not mine; however, I feel I can relate to his vision. I have come to realise that the other key thing for me is that I have to feel I can connect to the leader, and that he or she can connect to me.  Of course, I’m privileged in that I was able to go on the Torridon workshop with Bruce and I therefore knew him a little already; and we’ve also become friends over the last couple of years – that is not something that is necessarily open to people who don’t live in the next neighbourhood to a workshop leader!  But it is possible to at least gain some impression of the person from their images and their writings (such as their blog) and this offers good clues.  And, of course, you can trust my recommendation that Bruce is a great workshop leader! 🙂

So, is it possible to sum up what it was that I gained from Bruce’s input? There are a number of things that come to mind, but the main one for me can be outlined in the following terms.  At the beginning of the week, he noted that he sometimes found it difficult to understand exactly what I was seeing and why I had gone for a certain composition (I did say this was perhaps because the images were no good, but Bruce disagreed!).  A day or two later he began to suggest that my visualising of scenes was perhaps too selective – I tended to visualise one or two really significant elements in a potential image, but I did not always frame these in a way that meant they were as apparent as I wanted them to be, whether this be unusual shapes, repeated lines, patterns on hills, the interplay between different elements in a scene, and so on. This is not simply about excluding extraneous elements – even if I intended to crop the image from whatever I saw in the viewfinder – although this is also a factor (see the tree image I discussed here recently and the grass in the bottom right of the image: 1, 2). Rather, for me, it is about expanding the view of the scene as a whole, about being able to encompass the elements that form the shapes, colours and tones in a way that enables a more holistic image to emerge.  That is what I want to achieve, and I know that I do that, but not always as consistently as I would like.

At Achnahaird Bay, looking south

At Achnahaird Bay, looking south

Of course, this is just me.  Other participants will hopefully have found something in Bruce’s critiques (there were 2-3 hours of image critiques on every day but one; other participants also commented on images) that helped them with whatever they thought they needed – or perhaps that they didn’t know they needed.

A month or two ago I removed all the landscape galleries from this site.  There really was a lot of rubbish there, in amidst some images that I liked.  Before going to Assynt I had begun the process of recreating the galleries and they are gradually going to reappear, but this time with far fewer, more carefully selected images.  In general, I make photographs for myself and not for others: being clearer about what I’m doing is therefore essential, and I feel the week away with Bruce has enabled me to see much more clearly exactly what kind of images I want to create, and given me more tools to enable me to go about doing that.  Those are the images I want to show here.

In essence, I feel I am approaching my photography with new confidence, a clearer sense of why I’m doing it, and how to go about achieving what I want. So in answer to my correspondent: that’s why I wanted to go on this workshop! 🙂

The wonder of film

This evening I needed to be in nearby Musselburgh, where I would be waiting for half-an-hour at the harbour. Musselburgh has a lovely small harbour, and at the moment all the sailing boats are ‘parked’ in the car park round the harbour (in spaces that are marked ‘dinghy parking’!).

Stephanie, photographed on Ilford FP4 plus (ISO125)

Stephanie, photographed on Ilford FP4 plus (ISO125)

On the way out of the house, I took my camera, tripod, spirit level, filters, a 28mm and a 50mm lens – and looked forward to capturing some of these boats and the harbour scenes. I took my favourite film camera, the old Nikon FM2, with one of the last three rolls of Fuji Sensia that I have: this is a bit of a trip down memory lane for me, since I used to use Sensia a lot before switching to Fuji Velvia for colour landscapes; Fuji have recently announced they are stopping the production of Sensia so I have just bought three rolls of it to play with for the last time. It was fairly dark when I arrived in the harbour, and as I took my bag out of the car and began to set up, I realised that I had left my light meter at home – since the FM2’s slowest shutter speed before getting to the bulb setting is 1 second, the camera’s meter would be useless and I would have had to more or less guess all my exposures… so, sadly, I packed everything away again and went to buy a newspaper instead. Next week, when I expect to be there again, I’ll remember the meter!

I’ve read two nice postings on other people’s websites recently about using film. The first one was from the great Bruce Percy, who discussed how much he enjoyed using a particular kind of Kodak Portra film for a recent trip he made to Ethiopia and then, referring to Canon’s 5D digital camera, noted:

I get a lot of correspondence from people wanting to know how to get the same look with their 5D. You can’t.

If you want the look of film, then shoot film.

It doesn’t get much simpler than that! The other piece I’ve come across is more of a short essay by the wonderful Max Marinucci (though the second part describes how he develops film, so you may want to skim read that bit if you just want to pick up on his philosophy about film):

…patience and parsimony are virtues to be cultivated and nourished. When shooting film, you immediately accept the fact that it may be a little while before you see the fruits of your work and, by living with this, you will become a more disciplined shooter, which will in turn carry on to your digital side as well. It also means that shooting everything in sight without any thought into basics like light and composition is out of the question since you only have 24-36 shots in a roll of 35mm and it makes no sense in spending time/money developing simple, careless snapshots. This is a valuable exercise in restraint and it brings us to actually THINK before we shoot. Would you have taken a picture of your toes with film just because you can? I sincerely doubt it.

Although I use my Nikon D90 digital camera a lot, there is something wonderful about film that cannot be beaten by the more ‘clinical’ nature of digital… and it has to do with all these key components of photography that often go missing in the techno-madness that camera manufacturers obscure from us as they add ever more silly functions to their cameras: patience, composition, light, perspective… I’m not a dogmatic film shooter: of course digital cameras have their place (I couldn’t be involved in the same way in the African film festival if I wasn’t using digital, and I do like my D90). I think it is just a question of being reminded of that at times, of using film and digital in different circumstances as appropriate, and above all, appreciating film for all the wonder it can bring to the craft of photography.

On patience and time in processing

Stephanie: an intimate moment

Stephanie: an intimate moment

This is not going to be a long piece about patience and time (I have neither the patience nor the time for that – haha!).  Rather, it’s about taking the time in certain contexts, specifically when it comes to editing.  On looking at the tag cloud on this blog, I notice that I’ve written several times about the need to take time when seeking to capture images, but yesterday I found that after much time I had finally managed to get an image edited the way I wanted it to be – an image that I took in June 2009.  Now, 15 months later, and after several different attempts at edits, I’m finally happy with the end result (a previous version that I still like, but isn’t quite ‘right’, is here).

Sometimes, I just need to leave an image alone for a while, sometimes different edits need to be tried out, sometimes it will take a long, long, long time to get it right.  I can remember taking this image ‘in-between’ shots – Stephanie wasn’t really posing as such, but this seemed to me to be a gentle moment of some intimacy, and I wanted that to be reflected in the processing… and to my mind, that is reflected in this final (for now…) edit.

On visualisation

Bruce Percy has published another eBook that I have been privileged to proof-read, so I know it’s good!  Click here and you’ll see the first volume on visualisation.  Volume 2 is still to come.

Tree in Edinburgh

Tree in Edinburgh

Bruce discusses ways of thinking and seeing images in advance of squeezing the shutter, at the moment the shutter goes, and afterwards.  It’s tremendously helpful to someone like me when thinking about how I see what I think I want to photograph.  For example, whilst I like this image a lot, I might have tried to take it quite differently after reading the book: despite being heavily cropped, it’s still quite ‘busy’, and although I obviously can’t cut all the bushes and trees down round about it (I’m no Michael Fatali, in all senses of the phrase!), I might have tried harder to reframe it in some other way.  Fortunately, because it was taken on black and white print film (Ilford Delta 100, if you’re interested!), scanning it at a high resolution allows it to be cropped down to a smaller size whilst still being large enough to produce substantial prints.  Something useful can therefore still emerge from the original concept I had when visualising the tree.

Bruce’s book deals with all these issues and many more in his usual lucid and engaging way – highly recommended.