{"id":604,"date":"2017-09-24T20:31:12","date_gmt":"2017-09-25T00:31:12","guid":{"rendered":"http:\/\/forestrat.com\/mwp\/?p=604"},"modified":"2018-05-27T09:34:52","modified_gmt":"2018-05-27T13:34:52","slug":"that-photographic-feel","status":"publish","type":"post","link":"https:\/\/www.forestrat.com\/mwp\/2017\/09\/24\/that-photographic-feel\/","title":{"rendered":"That Photographic Feeling"},"content":{"rendered":"

Is this a photograph of a stone in a lake?<\/h2>\n

Well, yes and perhaps no. Or at least it is a stone, but maybe it’s something more too.<\/p>\n

Minor White said his approach to rocks went like this<\/a>: “When I photograph rocks I adopt a dual approach. Firstly, the image reminds me of something: human anatomy or emotions, even though the rocks themselves remain rocks. Secondly, the photograph becomes a stimulus for a dream: about a lover, a wife, a mother\u2026 Only not about the rocks.”<\/em><\/p>\n

I don’t follow such a formalized approach as White describes.<\/h2>\n

And I’m no Minor White, but I like to think that my photographs bring something more to the table than just a mechanical copy of a scene.<\/p>\n

I don’t carry my camera around everywhere I go just in case I see something, but I’m always looking. Often I’ll see something day after day and I just think about it. I think about the light at different times of day and different weather conditions. Eventually I might take some photos – or not. It depends on if it feels right.<\/span><\/p>\n

I know taking photos when they feel right isn’t much of an explanation. How do you transfer that knowledge to another person? I can tell you that I took this photo at f32 for 8 seconds at ISO-100 with a polarizing filter, but that means nothing. Why did I choose those settings?\u00a0 Did I try others? Did I try other framing? Why did I choose this specific image over the others I took? There were other rocks along the way. Why did I stop at this particular rock in the first place?<\/p>\n

It’s just like how a piano teacher can teach a student the notes and techniques, but not how to play a piece with feeling. That’s something the student needs to bring from inside.<\/p>\n

\u201cThe photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.\u201d<\/em> – Minor White<\/p>\n

Although we tend to think of Ansel Adams as a technical photographer and White more of a Zen master type, I think it’s just a matter of perception. Ansel talked more about the technical side, but obviously there’s a feel to his photos that make them some of the best in the world. Minor taught from a spiritual viewpoint, but he was a technical master too.<\/p>\n

Technique and feel have to go hand in hand.<\/p>\n

MDW<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Is this a photograph of a stone in a lake? Well, yes and perhaps no. Or at least it is a stone, but maybe it’s something more too. 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