THE WINSTON EYE: Mare and Colt #2

Thursday, July 2, 2009

Mare and Colt #2

I first posted an image of "Mare and Colt" on The Winston Weekly in May, 2008 about two weeks after the colt was born. "Mare and Colt #2" is another image taken on the same day at John and Kim Scileppi's farm in Eagle Point, OR

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Thought by Thought

Digital Augmentation

I think it’s generally assumed that images posted in most newspapers and magazines are not manipulated and rightly so. I'd feel deceived to find manipulated images presented as actual representations.

However in other contexts, Photoshop and digital technology allow for new possibilities as never before. With these tools, I approach my work more as a novelist or painter. It’s the final image that is either good or not, independent of how a photographer or digital artist achieves it. Many have a purist attitude, which in my opinion has more to do with a habit, developed over many years, of thinking that the camera sees things objectively, as they actually are and we shouldn't mess with this "truth." Of course, photographers, even before the digital age, brought their own assumptions to what they saw. Five photographers were likely to portray the same subject in five different ways. The main difference now is that we're creating as much in post processing as at the moment of exposure and often more in post processing (most people don’t realize to what extent Ansel Adams did this, but in the darkroom).

For me, the fun is in doing whatever is needed to make an image sing. Today we have the tools to make a strong image into a stronger one so why not use them, whether we're making minor adjustments or more manipulative ones. Unlike the pre-digital days, I view the original image more often as a departure point. DLW

In My Own Backyard - DLW

For a number of years, before flying lost much of its appeal, gasoline prices soared, and Americans became despised in far too many places around the world, I loved traveling to other cultures. These journeys were sparked by a strong desire to photograph unfamiliar ports of call with the freedom that is part and parcel of seeing people and places for the first time.

One appealing picture would be enough to get my juices going and in short order I'd be flying to a new land. Other than the challenges of orienting myself to new languages, cultures, and intermittent loneliness, these journeys contained moments of bliss and taught me a lot about myself. For these reasons they are cherished.

At the same time, after many trips abroad I've come to the conclusion that my favorite images have been taken locally, where life is not as alluring and creating art seems to be constantly at odds with other things that need to be done. Yet its the local terrain that I am most familiar with and least fooled by (something I can't say when I'm in new places where the allure of surface qualities can be mesmerizing).

Despite all the tasks that come up, I push myself out 2-3 times a week, returning to places I know like the back of my hand. Most of the time, the light is not ideal. But, with patience, new and unexpected weather patterns conspire to reveal the familiar in compelling ways. These are the moments that keep me turned on to photography, moments that are available in my own backyard. DLW

More Thoughts

I am always trying to make my photographs sing, to express something that is more than the sum of their parts. Despite all of my ideas about what makes an image come alive, I still feel like a beginner. When I'm willing to give up my "good" ideas and think outside the box, possibilities start emerging. Instead of imposing my will, I begin to see what is actually in front of me and approach it with a playful attitude and a willingness to go deeply within myself so that I can see more clearly. That's when possibilities have the best chance to emerge. Nevertheless, this does not happen automatically. But getting out again and again does result in images that sing. DLW

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When it comes to photographing people, I love to explore the fringes, especially at events. That's where I find subjects that are more likely to reveal themselves. After the event begins and everyone is in their role, its harder to get past the surface. But arriving early when preparations are still underway and the spotlight has not yet arrived multiplies the likelihood of finding authentic moments. That's the fringe. Its a lot easier to capture people at an event while they're anticipating what's ahead. Scanning the periphery for possibilities, before people are "safely" in their roles, helps to find expressions and gestures that usually go unnoticed, but are often more revealing. DLW

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For me, photography is about relationship. At times the relationship is between me and my subject(s), but more often its between subjects, animate or inanimate within the picture frame. To emphasize relationship I like to juxtapose, contrast, uncover humor and create mystery. Often these elements weave together. Sometimes relationship is about alienation, a sense of isolation in relation to self or surroundings. Ultimately, my photographs reveal a lot more about how I perceive the world than the subjects they depict.

Without relationship a photograph remains in a sense, two dimensional. With relationship there is always the possibility of transformation, creating more than the sum of the parts. DLW

I often find boredom to be useful. It can be just the kick in the pants I need to explore new possibilities. "Interstate Landscape" resulted from the boredom of being a passenger on a five hour trip over familiar territory. Play was just the antidote. I began to consider anything that came into my visual field as subject matter. Since we were moving quickly, I made no attempt to stop action, but to use movement as a martial artist might do. While my preconceived ideas often lead to boredom, slowing down enough to actually see what's in front of me opens up new possibilities. DLW

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When it comes to creativity, what I find most critical is simply getting out to take images on a regular basis. In a way this is obvious, but its good to remember when daily chores and activities overshadow the creative impulse. My late mother, a writer, used to put herself in front of the typewriter from 11-2 everyday whether anything was forthcoming or not. Simply taking the time to generate new work consistently makes creativity possible. DLW

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I try to simplify so that everything that appears in the picture frame supports everything else. When there is a background, I take time to see how well it works with the foreground as well as other parts of the picture frame. DLW

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When approaching subjects, I always ask myself, "How can I show this in a different way?" and/or "How can I throw in something unexpected?" If I've photographed similar subjects in the past, I ask, "How can I do it differently this time?" DLW

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