Category: photography

More on (non)photography

Jeff of This Public Address responds to some of my recent thoughts on vernacular creativity in photography. He says:

I really must disagree with the idea that the philosophy on this non photography site is well developed. Actually, I find it rather naive. Having ?no rules? actually suggests the most difficult to adhere to rule of all?the rule of novelty?or, at the very least, the most counter-intuitive rule possible for artistic practice? that no human involvement is desirable. Disinterested artistic practice is a myth. Without interest, it isn?t art.

I think I actually kind of agree with some of this argument – that’s why I have such reservations about the lomography.com rhetoric, which has so many aesthetic rules, or rules of aesthetic practice, and yet claims to be a kind of “non-photography”. Maybe what we are looking at when there is an overt philosophy of ‘non-photography’ at work is actually better framed as ‘anti-photograpy’ – a politics of refusal which, like anti-fashion (as opposed to being unfashionable) nevertheless is closely engaged with, and demonstrates a knowledge of, the photographic canon, the avant-garde, and so on.

On the other hand:

The closest thing to ?street non-photography? I can think of comes from Chris Sullivan. The Journal of the Public Domain consists of objects found on the street. It neither invites, nor needs, any coherent philosophy. There is a difference between an organizing principle and a philosophy?trashlog has an organizing principle somewhat like Chris?s, and it seems to avoid any ?developed philosophy? as well. In both cases, human involvement (in selection at least) is readily apparent and needs no apology. Humans have notions and they almost always preconceive them. The idea of photography without preconceived notions is. to me, so much bullshit.

I like the work on both of these sites (and my favourite photolog Satan’s Laundromat is another example). But I think Jeff’s statements about them reveal where we part ways – I am familiar with this kind of unexplained, apparent “open” style of framing creative work from experimental and contemporary art music. The thing is, the artworld isn’t where my priorities lie.

I see nothing wrong in a “philosophy” that might promote a style of amateur photography that may or may not result in “art”, but that might enable people to move beyond both formulaic representation and slavish aspirations to professional standards; and therefore to engage more directly with and document, say, the architecture or everyday movement of people in their city…but then again, these are all issues I am still, and probably forever will be, thinking through.

And I’m mainly glad to see others are interested in the same issues.

Non-photography

Interesting street images and a developed philosophy of vernacular creativity at this website. As I develop a kind of relational taxonomy of the new ‘amateurism’, I’ve been struck by the pervasiveness of this kind of neo-punk, militant DIY, determinedly lo-fi ethic and aesthetic. Example:

While making street photos, non-photography was formed. non-p is the concept of taking energy as far as possible, and with no regards to excellency. it is about making pictures while being free of the photographer’s extra cargo of filters, stylish lenses and other expensive equipment. the non-photographer’s main tools are enthusiasm, an open mind and hopefully some creativity. more so, non-p has no use for books (too boring) or calculations (too calculated). for the most part, I make street photos, which is about recording the natural pace of the street life “as is”, without any interference on my part. No pre-planning is involved. I have my cameras (Minolta SRT 101 and an un-sophisticated digital camera) along with me at all times

The lomography movement adds to this a fetish for cheap, retro plastic…

Sleepy City: The Interview

I wanted to try something different from the usual formulaic “link+commentary” blog posts, so I decided to conduct a blog interview with the mysterious urban explorer behind the Sleepy City photography project and website. I was very pleased with the insights the interview generated, and I’ll certainly be doing more of them. Enjoy!

Jean: First of all, it seems to me that there is a fair bit of creative urban documentary photography happening at the moment (e.g. Satan’s Laundromat) but what you’re doing is more unique. What inspired you?
Dsankter: Perhaps you should say uncommon – there are people world-wide documenting similar environments. Inspiration comes from everywhere, the more you observe the greater range of experiences and ideas you have at your disposal. It’s like a novelist trying to write without ever leaving their room. I guess thats all a bit vague, specifically I get inspired by discarded bits and pieces and the hidden places I never noticed.

Can you share some stories or anecdotes about how you accessed various locations and set up shots?
Boating is my favourite way. The boats are cheap, nasty and not puncture resistant. It’s dangerous because in the drains the tidal water rises fairly quickly and the implications of airspace running out are obvious. However if you time it right the tides carry you along nicely and you don’t have to paddle. It’s lots of fun, I just wouldn’t recommend it to anyone stupid enough to actually try it. Sometimes I wonder about the sanity of our little group!

Taking photos underground can be difficult because it’s confined, damp and dark. The setups vary as much as the shots themselves. The setup is different depending if you are painting with manual flashes, wireless flashes, torches, fireworks, natural light or any combination of the above. Sometimes you just aim and hope for the best.

I remember trying a fisheye shot from underneath a passing train. The tripod was flat on the ground wedged under the rails. The camera was pointed up at 45 degrees or so. From memory the exposure was about 25 seconds at F8. It was triggered via IR remote control. The noise of the train was deafening and we werent 100% sure the train would clear the camera. At the time the risk seemed worth taking. The camera was fine and the final shot came out okay. I’d love to try it again though.

How about the technical stuff – equipment, digital manipulation etc.?
Film! ISO 100 or slower for reduced grain. Digital is too expensive but if Canon offers me an eos 1ds then I’d jump in a minute :) Honestly you could take any of my photos on a manual focus oldschool slr. That is the cheapest option, though it is nice to have AF when you’re shooting action and sports.

I love the wide perspective and it’s suited to the tight places but I shoot a little telephoto for variety (and to justify buying a long lens!). You need the option for the perspective that best suits your subject. A good tripod is your best friend. Independent leg adjustment and low angle options are things I couldn’t give up. The ability to mount the centre column horizontally has gotten me photos I would have missed. When I get the photos back I quickly forget the cost of camera gear :)

I keep digital manipulation to a minimum, being about to control everything at exposure is practically a science. I would love a full set of colour correction filters but at 77mm they get expensive quickly. I use tungsten film (64T) and gels to colour correct, but small colour adjustments are easier and quicker in photochop.

Can you tell us something about your professional background or life story?
I started taking photos mid 2002, it’s amazing how much information is on the internet at places like www.photo.net. They make it easy to find the answers to difficult questions. If the answers aren’t there then break it down to first principles. I’m not a professional photographer (I wish!) but I get enough sport photos published to cover film and processing thankfully.

Instead of a proper life story, I’ll say you never know where the things you do today might lead tomorrow. That first step into urban exploration has taken me to places I’d never guess. Screw thinking outside the square, I’ll be off looking in the corners for secret exits.

Do you see yourself as an artist, an explorer, a photographer, or perhaps a combination of all three?
It’s like the 3 magi in evangelion :) Anyway, I don’t consider myself as an artist – my camera is a way of documenting what’s around me. To me the artist label has the wank factor and the ‘artistic interpretation’ attached. Obviously a stereotype, but one I don’t really need to explain. I don’t see myself as creating art, I feel like I’m shooting the story of my life. The places I go and the people I’m with. The explorer label fits more easily. I think the more soot, dirt, bruises and cuts you have when arriving home the more fun you had. I take photos, so photographer fits also.

What do you think of Brisbane’s transformation since the late 80s/early 90s into this gleaming postmodern/creative city?
I was born in the 80′s so I won’t comment on the earlier periods I know little about! However even in recent years you can see how much Brisbane has been pillaged. Massive amounts of historical real-estate has been converted or demolished to make way for apartments. Even heritage listings are not safe, the old Newstead gas works is on the chopping block for development.

Still the changes to brisbane are making it more livable, less of an eyesore (to most people) and probably more attractive to tourist dollars. There’s nothing to gain by thinking of what’s gone, but I still cringe when I see the ‘renovated’ CSR sugar building (.pdf) at Newstead. Next up is probably the Tennyson Power Station. [...] Ultimately it’s for the greater good I guess, though its nice to entertain the selfish thoughts sometimes!

I love the little cracks of old that shine between the polished front of the city. The old gutters, manholes, lightposts and buildings are there, you just need to look a little harder.

Do you have any plans for your work beyond your (seemingly anonymous) website?
I would love to shoot commercial/industrial photos, something along the lines of Tom Paiva’s work or Bob Sacha’s. I’ve only just begun to consider shifting it from a hobby to a profession after the popularity of my site lately. Since metafilter picked it up the traffic has been amazing.

Would you like to see other people taking up the themes of “underground” explorative photography, or embarking on similar projects?
The loneliness and quietness of the underground appeals to me. It’s a temporary sanctuary from the advertising, pace and problems in the world above. I sincerely hope that the underground never becomes popular and exploited. As time passes the mainstream absorbs the more obscure hobbies and the greedy chase minds and dollars. I hope the underground can avoid this and remain a little haven for those lost souls who find their way downwards. No doubt that sounds terribly elitist, but we are very attached to the places we visit. Noone wants to see them trashed, locked up and demolished.

Sleepy City

Images of the bits of Brisbane that don’t match the shiny postmodern marketing at sleepy city: downside-054.jpg

Through the decaying doorframe or that unnoticed metal hole wait adventure and sights few will ever see. All it takes to step across into this parallel world is a torch and a curious spirit. No joining fees, no ridiculous contracts and nobody looking over your shoulder. You might be surprised how little of your city you have ever appreciated.

Thanks to the null device for the link.

Circular Streetscapes

The project installation Their Circular Life uses digital technologies to present quite ordinary images of urban life in an innovative way. It is similar to panoramic VR presentations, but instead of allowing you to “fly” around viewing the scene from a number of different perspectives (so you feel that you are controlling the spatiality of the scene), it allows you cycle back and forth through time, controlling the pace of a day in the life of the city, and hopefully reflecting on the pace of everyday life in a wider sense. I really couldn’t stop playing with it.

Even more exciting is the news that the project has gone open source. From what I can gather, creating a similar installation is only a matter of having some basic photography, sound recording, and flash programming skills. Hmm…feeling tempted to get together with a photographer and have a go myself.

Thanks to consumptive for the link.