Fossilization of Time

"To me photography functions as a fossilization of time.

...

My method is different from the one most photographers use. I do not go around and shoot. I usually have a specific vision, just by myself. One night I thought of taking a photographic exposure of a film at a movie theater while the film was being projected. I imagined how it could be possible to shoot an entire movie with my camera. Then I had the clear vision that the movie screen would show up on the picture as a white rectangle. I thought it could look like a very brilliant white rectangle coming out from the screen, shining throughout the whole theater. It might seem very interesting and mysterious, even in some way religious.

...

I’m inviting the spirits into my photography.
It’s an act of God."

- Hiroshi Sugimoto (1948 - )

Materializing the Invisible

"Art resides even in things
with no artistic intentions.

...

Photography is making a copy of reality,
but when it is photographed twice
it goes back to the reality again.
That is my theory.

...

Art is technique: a means by which
to materialize the invisible
realm of the mind.
...

Photography is like a found object.
A photographer never makes an actual subject;
they just steal the image from the world…
Photography is a system of saving memories.
It’s a time machine, in a way,
to preserve the memory,
to preserve time.

...

I’m inviting the spirits
into my photography.
It’s an act of God."

- Hiroshi Sugimoto (1948 - )

Hey Fella, Would you Mind...?

Audacious, brash, brazen, daring, disrespectful, forward, impertinent, impudent, presumptuous, rash, rude, shameless, ...

One of my pet peeves, in and out of photography, is what I call the "in your face" approach some people take to get my attention (I am sure I am not alone is despising this phenomenon to the "beyond measurable category" level). I am emphatically not referring to people who are quiet and polite; (which most are, of course); and certainly not those who patiently wait for me to finish whatever it is I am doing - usually hovering over my tripod, bending up and down and sideways, while gesticulating wildly with my elbows trying to find a reasonable composition (my wife refers to my picture-taking process as akin to the wild thrashings of a stark raving mad broken-pretzel) - before introducing themselves.

No, the class of people I am referring to are of a distinct "Hey Fella, Would you mind...?" bent of mind. The kind who - regardless of how busy they must surely see you are (it is hard to be "gesticulating wildly" without at least appearing to be busy doing something ;-) - nonetheless suddenly, brazenly, and anything-but-quietly approach you - often tapping you on the shoulder for good measure, presumably trying to increase their chances of getting your attention - to demand (yes demand!) that you stop what you are doing in order to take their picture. As preposterous as this may sound - come now, people don't really do that, do they? (yes they do!) - this has happened to me for so long, so consistently, in so many different places, that I never go on any of my photo-safaris without expecting (and bracing for) at least one such encounter.

Here is a typical "Hey Fella, Would you mind...?" encounter I had recently on a trip my wife and I took to Grand Cayman island (to get away from it all during Spring break). My wife and I are on the beach in front of our hotel. The sun is setting (with precious few moments left before it disappears below the horizon). I have my tripod set up a few feet from shore, and am attempting to get a few Hiroshi Sugimoto-like (i.e., looooong exposure) shots. I have my trusty Singh-Ray vari-ND neutral density filter screwed on. And I am very much "in the moment"; ticking off the seconds of a shot and anticipating only a few compositional opportunities left before the light disappears for the night.

Behind me, I faintly hear some whispers (though with an obvious urgency). "There are only a few moments left! Get someone!" A family. A man, a woman, and two teenage kids. I hear feet shuffling on the sand, ice sloshing in a glass (a rum punch?); voices getting closer. "He's busy." "So what, the lights going!" Two pairs of feet shuffling now; I also hear a few giggles from the kids. "I can't bother him now!" (A faint glimmer of hope that at least one member of this party has some decency!...but alas...) "He can take his pictures later...ask him, go ask him!" I hear: "Ah, fella, would you mind...?" (I'm not kidding you!) Keep in mind, I'm huddled over my camera, and in the middle of a minute-long exposure. I keep my posture, and say (without lifting my head) - loudly enough for him to hear, but with an even tone - "I'm in the middle of a shot right now; this is not a good time." "But I just heard the shutter; you've taken your shot already!" I can't believe this comment (I sigh, inwardly, but keep my eye at the camera - 45s, 46s, 47s, ... - and remain silent.

I feel a light tap on my shoulder (I am not making this up!) "Hey fella, didn't you hear me? My wife and I would like you to take a picture of our family before the sun goes down." I still - somehow (!) - manage to keep my composure. I remain glued to my camera, but say, firmly this time, "Sir, I am busy right now. Perhaps you can find someone else to take your picture?" I should point out that the beach was filled with people, many of whom had their own cameras; and at least one other person had a tripod (which he was not even using, and was content simply enjoying the sunset view).

The man persists: "Fella, there are only a few minutes left!" An assertion that finally grabs my full attention. I stand upright, look his way, and say - rather angrily I admit - "Yes, I know! I'd very much like to use this time to do my work, if you don't mind!" He doesn't let go: "Hey man, it's just one shot, come on..." Now, I know there must be some Emily Post etiquette behavior guide for situations such as this (there ought to be, if not). I grit my teeth - outwardly trying to smile - take his camera, move in front of the man, his wife, and two giggling teenagers, and tale a quick shot with their camera. "Thanks man," is all I get for my efforts (as I run back to my tripod)...almost. As I prepare to hit the shutter one last time (to capture the shot you see reproduced above), I feel another tap - I can't make this stuff up! - "Hey fella, can you do one more, please, without the kids this time?" At least he said please!

I have dozens of stories very similar to this one. An unforgettable "encounter" happened in Santorini, Greece last year, and involved a German couple who spoke not one word of English (nor I German). That made it both better and worse (and in hindsight - but only in hindsight - hilarious), but I'll leave the details to your imagination :-) There are no deep lessons or morals here, save for the obvious ones: (1) people will be people (on both sides of the camera); (2) always plan for one or two rude people (that way you won't be surprised); and (3) it pays to not lose your cool (had I lost mine, I would not have gotten the one "keeper" of the night, the shot at top).

Postscript. For those kind readers who have, over time, picked up on my penchant for Borgesian/Godelian recursive mysteries, be assured that I did toy with the idea of weaving my tale around an infinite regress induced by my having thrown the "audacious, brash, brazen, daring, disrespectful, forward, impertinent, impudent, presumptuous, rash, rude, shameless,.." man's words right back at him: "Hey fella, would you mind...?" (Which would have made as much sense for me to use on him, as he clearly believed there was in using them on me.) In some unknown universe in the limitless multiverse we occupy an infinitesimally small point in, there is a world, much like our own, where an "encounter" between a photographer and a man wishing the photographer to take a picture of his family never ever ends: Hey fella, would you mind...?, Hey fella, would you mind...?, Hey fella, would you mind...?, ...

"Artist at Work" ;-)

My Blog (and I) have been off-line for a while, as my family and I enjoyed a well-earned vacation. This short entry, to recouple myself to the Blog world, is titled "Artist at Work" - and contains a wink, ";-)" - at the end because I am decidedly poking a bit of fun at myself. While I aspire to one day attain the right to call myself an "Artist," I have also retained enough objectivity in my short life to appreciate I have a way to go to get to that point. The image shown above is a before and after shot. The before shot (on the left-hand-side) exists by courtesy of my beautiful (and brave) wife, who was with me on the Florida beach as yours truly was (incredibly, and somewhat idiotically!) taking a series of Hiroshi Sugimoto-like long-exposures of some pylons sticking out of the water as it, the beach, and my wife and I were pummeled by close-to-hurricane-level winds! The after shot (on the right; "after" referring to the physically banged up state my wife and I were in after braving the inhumanly vicious winds!) was among the several images I somewhow managed to capture without my hat, camera, tripod, and bag being blown half-way to Cuba. Suffice it to say that I now understand two things about my photography (and physical state): 1. That it is not why I take the pictures of the things I tend to take the pictures of (leaves, reeds, vines, dilapidated buildings, ...) that people stare at me when I take pictures with a mixture of bemusement and incredulity; rather, people stare at me with a mixture of bemusement and incredulity because of how I take my pictures. 2. The reason my back (and neck, and shoulders, and knees, and ...) seem to hurt all the time has less to do with the inevitable age-creep (I'm only 45 for Goodness sake;-), and everything to do with the contortions I put my poor body through to get that next shot! (The irony is that my body, in the act of capturing the beauty of dilapidated buildings, is itself succumbing - rapidly - to the same entropic decay!) When I said to my wife (while laughing at what I thought was a "fluke" picture of me in a comically and awkwardly wrenched position), "Hey, you were lucky to catch me like that!"... it was my turn to stare at my wife (with a mixture of bemusement and incredulity;-) when she gently, but firmly, assured me that I always look like that when taking pictures. Whether I am in a mini-hurricane (as above), or precariously balanced on a ledge on some cliff in Hawaii, or delicately (and typically not all-too-well) poised on one leg on a small rock in the middle of a babbling brook, I'm always scrunched up like a pretzel! The "Artist at Work" indeed!

Space, Time, and Perception

The Hirshhorn Museum is currently exhibiting a career survey of Hiroshi Sugimoto (b. 1948, Tokyo), a master of using photography to explore the nature of space, time and perception. The exhibit runs between February 16, 2006 and May 14, 2006.

Sugimoto is known for his starkly minimalist, conceptual images of seascapes, movie theaters, natural history diaramas and architecture, that often border on the mystical. While, at one level, his images are "simple" (his seascapes for example sometimes offer little or no contrast between object and background at all!), at another, deeper level, they all compell the viewer to ponder such questions as "What is time?", "What is space?" and "What is real?"

According to the Hirshhorn site, the Smithsonian's Arthur M. Sackler Gallery will feature Hiroshi Sugimoto: History of History (from April 1, 2006 through July 30).

Here are two online galleries of some of Sugimoto's work (the first includes an interview with the photographer): Eyestorm & Robert Klein Gallery.

A generous sampling of his images (that require much time to slowly digest, emotionally, cognitively, and spiritually) appear in the book Hiroshi Sugamoto, by Kerry Brougher.

Photography and the Creative Process

Three exceptional new DVDs, released by Arte Video (and a coproduction of Arte France, KS Visions and The National Center for Photography), explore the creative process behind the works of some master photographers. Each DVD consists of about 10 short (10-15 min long) "essays" focusing on one photographer, using images (contact sheets, proofs, prints, or slides) with commentary by the artist himself. Together, these films provide an unparalleled excursion into the creative process of photography.

Contacts Volume 1: The Great Tradition of Photojournalism includes Henri Cartier-Bresson, William Klein, Raymond Depardon, Mario Giacomelli, Josef Koudelka, Robert Doisneau, Edduard Boubat, Elliot Erwitt, Marc Riboud, Leonard Freed, Helmut Newton, and Don McCullin.

Contacts Volume 2: The Renewal of Contemporary Photography includes Sophie Calle, Nan Goldin, Duane Michals, Sarah Moon, Nobuyoshi Araki, Hiroshi Sugimoto, Andreas Gursky, Thomas Ruff, Jeff Wall, Lewis Baltz, and Jean-Marc Bustamante.

Contacts Volume 3: Conceptual Photography includes John Baldessari, Bernd & Hilla Becher, Christian Boltanski, Alain Fleischer, John Hilliard, Roni Horn, Martin Parr, Georges Rousse, Thomas Struth, and Wolgang Tillmans.