Well, Jack opened it up for a “philosophical discussion”, so we got one. Finally.
While Ornello may be overtly passionate in his opinion, and most certainly wildly personal in his delivery … I say … so what? Why get angry? Why not? Why not slice and dice where photography has been, where it is, and where it is heading? If not us, then who?
I just posted a response on Get Dpi regarding a similar topic … yet another forum dominated by Landscape shooters who are absolutely sure the world of MFD photography revolves around post-card art. It isn’t that I don’t get why people do that sort of work … there is a place for the R&R and solitude it affords many people … or just to prove that “Kilroy was Here” … or whatever may ring your bell doing that type work.
However, there is a whole other world that languishes in neglect. So much so that it seems in danger of fading … yet still has a powerful relevance.
Fortunately there are some alternative places one can turn to for humanistic inspiration … like Burn magazine that another S2 and Leica M user turned me on to.
Unfortunately, I cannot view Ansel Adam’s prints to closely for fear of staining them with tears of boredom. However, I did like his books on processing and printing which has nothing to do with subject matter, just a good lesson in craft.
Personally, I subscribe the philosophy summed up in the humanistic French photographer Robert Doisneau’s book “Three Seconds of Eternity”. (The title is a reference to a sum total of a life’s work adding up to 3 seconds @ 1/1000 or 1/200 of a second each).
I have signed prints from these type “great souls” of photography including Doisneau’s “Picasso and the loaves.” a whimsical image which is actually a wonderful tribute to the artist who was known for his hands on, tactile approach to art and sculpture. Look up the image and you’ll get it right away.
I also search out unknowns languishing in the shadows and buy their work. Some are freaking masterpieces of observation, and the capture of light. The only thing missing is a longer term consistency of such images, a body of work … but without exposure, without appreciation, without recognition they have a rough row to hoe.
So, it is quite understandable when someone finally has had enough of images that look as if all of humanity has been exterminated by a Neutron Bomb … an endlessly repetitive array of images that hog the limelight.
Photographs have to be experienced, have to be seen and felt. It is sustenance to those making the images. As Picasso once quipped … “A painting kept in the closet, may as well be kept in the head”.
It is getting really close to the fact that the general public is outdoing the so called dedicated enthusiasts when it comes to spontaneous and involving “of the moment” photography … unfortunately the good ones are buried in a monumental pile of clutter.
I have an S2 and CS lenses because, in addition to spontaneous hand-held of the moment work, I also use lighting. However, the way I use lighting is born from shooting with a Leica M. I go for the moment, and use a mobile lighting assistant off away from the things that people are deeply involved in doing, and that I’m interested in. Damned fine camera for both endeavors.
Your thoughts?
– Marc
Oh, BTW, schools may differ in how they teach and who does the teaching, yet in general there’s no direct connection to that and great creativity, including photography. I was the Advertising portfolio prep professor at one “Up There” art school … where no one could graduate unless I said they could. I was “invited” by the school because their own bloated academia had lowered the output of viable talents flowing into the advertising industry. They used working professionals also … which doesn’t mean squat when it comes to extracting individualistic talents … I was also a working professional, but my professional job was doing exactly that … as Executive Creative Director of one of the largest Ad agencies in the world.