Posted by Karl Zipser on August 13th, 2007
This photo of the train station in Haarlem has always caught my attention. In trying to figure out why, I noticed that the images contains blur in three flavors: blur because of movement, in the case of the passing train; blur in the case of an area out of focus, as with the distant cityscape; blur because of a translucent surface, as with the station windows.
Each of these elements of blur contributes to the impact of the image. The passing train is captured but transformed to something beyond our reach in the still reference frame. The sense of being inside the station is heightened by both the way the windows diffuse the light, and by the blur of the exterior space. The combination intensifies the feeling of being in a particular place at a particular moment, separated from the rest of the world by distance, glass, and velocity.
All of these elements of blur were unintentional. Their joint effect I only realized months after making the image, but the insight of the power of blur is something I can compose with in the future.
Do you have an example of blur in a photo which contributes to the impact of the image?
Posted by Steve Durbin on August 7th, 2007
Posted by Steve Durbin on July 30th, 2007
Posted by Doug Plummer on July 18th, 2007
I’ve not posted here for the last month, as I’ve been deep into computer management issues. Creativity has been at a low ebb, as has been anything cogent to say about the process. But I’m on the road now, which always gets me creatively engaged with my surroundings.
We’re visiting friends on Salt Spring Island, which is between the BC mainland and Vancouver Island. The hills and sea coves are spectacular, of course. Walking with friends at Ruckle Provincial Park, I explored the woods and beach with my camera as they conversed. I felt like the off leash dog lingering behind to check out the compelling scents along the trail.
Washed up on the rocky coast, with all the other woodsy flotsam, was a huge stump with its ring of roots, whitened by many seasons in the sun. I’m a sucker for these sorts of things. No matter that this is a well worn rut in photographic explorations–the reason photographers are attracted to eroded rocks and convoluted trees is that they’re interesting natural forms to stare at. I am not above joining the fray, so long as I get to do it in relative solitude.
The more I started poking around this stump, the more I appreciated how this was one of the more complex shapes in a natural object that I had encountered in awhile. By taking pictures of it, sitting in it and looking, and looking, and extracting more shapely photographs, and looking some more, I got to “know” this thing. I crawled in close, and I backed off and saw how it sat in the larger landscape. I began a relationship.
We had about 30 minutes together, this stump and I. Most people, and me in another mood, would have walked by, glanced at the stump, thought, hey, that’s cool looking, and gone on their way. The camera was an excuse to linger and really feel what this spot was like for the duration.
Posted by Birgit Zipser on July 13th, 2007
I am visiting the Wattenmeer (mud flats) where I grew up.
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Posted by Steve Durbin on July 10th, 2007
I could be accused of being stuck on my waterfall project lately, but my excuse is that it seems to connect to various other recent posts and comments. Anyway, it’s the work that I’m closest to at the moment, so it makes sense to write about it while it’s fresh. Fresh enough that the ideas are still churning around without order, which in truth is how I like it. I’m inclined by nature to let things ferment in their untidiness, not attempting to resolve or define, hoping/knowing that that will happen on its own eventually.
So this post is partly a record of the connection between concepts and execution, between thinking about the photographs and making them. In the present case, this is a pretty loose and interactive connection, perhaps similar to David’s “chickens, then eggs, then more chickens…” or Leslie’s “dialogue with the idea going back and forth with the making in a pretty comfortable way.” Karl also has been considering the role of concept in art, and I think his question, “Is art something we make, or discover?” is about the same thing. In other words, do we create from a concept or learn by doing? The answer, of course, is that both go on at once, but how it plays out is always different, even for me alone on this single project.
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Posted by Steve Durbin on July 3rd, 2007
As regular readers may know, I’ve been intrigued by resemblances noted between some of my photographs, particularly the recent waterfall series, and those of Clyfford Still, the eccentric Abstract Expressionist determined to go his own way, living most of his life in relative isolation from the art world. Over the last year or so, I have sensed some movement toward abstraction in my work and I would like to explore that. What is abstraction for me? How does it relate to representation? What and how does it mean? I’m not aiming for a more sophisticated Statement, I’m just trying to better understand what I do and what others have done and what I can learn from it.
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