It has been a couple of weeks, since I wrote the previous post in this series, and I promised to do a bit of a deeper dive into what lies beneath the surface of the process of capturing these images.
In terms of photographic technique, the ideas are rather simple and mastered relatively quickly. Most of my personal photography projects tend not to last very long, as quickly I start looking for novel ways to capture and present material; at such a time, I usually put the project aside for at least a year or so, waiting for it to feel fresh again when I go for the next image in a series. This project has been different, in that I have been shooting in this genre for about 18 months at this time, and it has not felt stale to me yet. As this surprised me, I started looking into the how and why this project is different.
There are several elements that I uncovered, which make the Kryptomorphaics project different from prior efforts:
- on-going discovery
- emotional connectivity
Discovery – photography is a journey of discovery for just about all of us, who have picked up a camera and started shooting in earnest. This project has afforded me continual discovery through opening up all senses and taking input from all of them in the process of capturing content that is not just visible to the eye. This deeper sense of uncovering this cryptic that lies hidden within the world around us has opened my mind’s eye to further explore these scenes in new directions. These include examination of the scene not only in its current juncture within the space-time continuum, but also past and future lines that may be occupied by the players on stage within the scene. This has opened up some connections that I had hitherto not observed, some of which demonstrate how universal forces flow through the quotidian.
Emotional Connectivity – as I deepened my exploration, part of which included opening up all senses to the environment in which I found myself, I started noticing a sense of emotional connection to what I found within the scene. In a manner, which can be likened to meditation, a more complete sense of the image, as it should be captured, is refined by opening up the senses to subtle emotional triggers. It can be described as opening oneself up to a feeling washing over the entire being and letting that guide the decision making process for how to capture the image. This feeling is more pronounced for certain images that others.
Re-Examination – upon capturing an image, the next thing I do is a taking stock of how it felt to capture the image. I take sensory stock of the image rather than examining it visually (I am not a big fan of chimping, but one could say that this is a sort of sensory chimping). Without looking at the image, I will then make a decision to either shoot the scene with some adjustment, which can be slight or radical, or if it feels just right, I then walk away from it.
I find that the success of the process depends more on my ability to quiet all my senses and open myself up to my surroundings; this is where the simile with mediation extends, as I will use meditation techniques to improve my feel for the environment. In this process, I do not over-analyze how I might be able to capture the feeling that lies before my lens; a couple of rough guesstimates guide my camera settings adjustments, as I let intuition be my guide.
In subsequent posts, I will move away from technique, but rather focus on individual images. I will try to explain some of the sensory information that came together in the creation of each image and how I view the image afterwards. Many of the images are viewable in the Kryptomorphaics album on the Frank Jansen Photography Facebook page.
3 thoughts on “Writing with Light (3)”
These are really fascinating photographs.
Nice description of process….& thoughtful insights behind this evolving body of work!
300hikes and George, thank you. As George says, this continues to evolve and I am planning to follow it as it leads me into new territory.