Your Photographic Epiphanies?

[Tom Stanworth]

Most photographers are constantly evolving not only their ideas, but their outlook as a whole. We all accumulate knowledge and become wiser in life in general and this invariably affects what and how we photograph: we see through changing eyes. Sometimes there are events, or periods of reflection, which cause major changes in how they see their photography, what it means to them and the direction their expression takes. My own outlook/approach has changed significantly as a result of a number of experience and it would be interesting to hear other people's. Here are a couple of mine:

• Using my great grandfather's Goerz folder for the first time: This was given to me by my mother when my grandfather's old possessions were cleared out. The first surprise was that the shutter worked perfectly on this now 90 year old 6x9 camera and the glass was clear. The prism was bent and etched and it leaked. A test roll after the camera was taped up showed it produced a sharp image if focus was bracketed and a new roll was then put in. Nothing much happened until a fantastic frost one morning which endured the morning due to the deep shade of an adjacent wood. I took off with the camera intending to take a shot simply to show my mother a half decent image taken with her father's camera. After struggling with getting the thing pointed in the right direction and guessing the framing (assisted by another camera), bracketing exposure and focus (rail was bent so the scale was miles off), I produced an image that is one of my strongest. Why? Because I had to think about everything and for the first time since using auto everything camera, I was truly involved in using my own eyes to make an image.
  
• Seeing original Ansel Adams prints. These showed me how beautiful a silver print could be as well as the various interpretations over the years - changing vision.
  
• My first exhibition: Seeing what other people saw in what I saw!
  
• Working in Afghanistan: I could see the threads linking my Welsh landscapes and new work. I could see what it was that was constant in my images, wherever, whenever.
  
• Trying to explain to someone who was to write a Bio why I do what I do. That helped me better understand the threads that run through all my work and was present before I picked up camera.

What about you?

 

[keithwms]

Okay, first of all, thank you Tom for teaching me how to make bulleted lists

My father had a yashica TLR that fascinated me a kid. I think I was about 8-10 when I took it apart and learned the basics of how cameras work. N.b where we lived, there was no supply of MF film so I never actually took a shot with the TLR, so I simply carted it around like a big toy and traced things onto paper that were projected onto the ground glass. I didn't realize how much I enjoyed that TLR until decades later when my father gave it away, and then I really wished I still had it!

I think all that has to be epiphany #1.

 

[2F/2F]

My very first photo teacher, on the very first day of class, repeatedly referred to a camera as a "dumb box". Understanding that is all the epiphany a beginning photo student needs, IMO.

Next, money is not an indicator of quality of work. You don't have to be any good at photography to be a "professional". You need to be good at all sorts of other things. That was also stated by my first photo teacher on the first day.

Epiphany number three: Technique without concept is useless; far worse than concept without technique. A monkey can learn technique. Put your energy into concepts and ideas first, and the technique will no doubt develop in time in support of these.

Guess who stated that and when?

I'd say she covered all the bases in the first ten minutes of that first class. The best part is that she was also very technically inclined; not some "artist" who taught us to reject technical matters on principle. She taught us to use them as means to an end.

 

[Joe Lipka]

Reading the Flame of Recognition and saying, "Oh. That's what photography can be."

Figuring out for myself that most of Fred Picker's exposure/development advice was wrong for me.

Completing my "Fifty" Project and finally comprehending how hard it really is to make a great photograph.

 

[Pete H]

"Photograph the light." Reading that sentence completely changed the way I look at things, how I compose, how I expose, everything really. I can't even remember who wrote it.

Pete

 

[Mark Fisher]

My first decent lith photograph (and Keith Carter's work) taught me that grain and lack of sharpness are not the enemy, but another tool to use.

 

[ghost]

I'm getting back into silver and light based artwork after a 4-year break (I was sick)...

all I used to do 4 years ago was urban landscapes, but now all I have been thinking about is photographing people!

while I was sick- I saw a book of an old photo exhibit called I think "The Family of Man" (does anyone know what I'm talking about?)-

seeing these pictures was kind of a shock for me and definately got me jazzed about my new obsession- maybe this counts as an "epiphany"?

BTW- thanks for having such a great board and community here- I have learned a lot just lurking around.... you people rock!

 

[Anscojohn]

Releasing the shutter and thinking "I'm going to have to burn down that side of the building" thus knowing, intuitively, that--in E. Weston's words--I had begun to "see photographically." Sitting for half an hour in an art museum in Cincinnati looking at an original of Pepper Nr. Thirty--a print with so much depth I felt I could reach around them.

 

[JBrunner]

That photography is in the final word about light.

Not to make mediocre negatives and struggle later to bring out a decent print.

Knowing when not to photograph was important to the creative process.

Gear and tech beyond a certain easily reached point does nothing for a photographer but distract, and become an unfortunate and unrealized refuge from real photographic thought and intention.

 

[Alex Hawley]

1. There are no rules, other than the exposure rule, which is fundamental physics and necessary.
2. If the negative is well composed, properly exposed and developed, the print is easy.
3. "Old" gear is just as capable as "new" gear. There were many, many excellent photographs taken before the latest gear came out.

 

[Phormula]

For me it was when I realized that photo gear was far less important to get good pictures, and I got out of the "there is always a missing piece of equipment between me and a picture" and I understood that there are no shortcuts, whatever the equipment I am using, if I want to bring home a good picture, I need to understand what message I want the picture to communicate and I need to work hard at composition and exposure in order to get that message. A technically perfect picture that conveys no message is useless, and nobody will ask what camera brand you used or how many pixels, when presented with a good picture that conveys a strong message. When I realized this I stopped my gear acquisition syndrome, decided to spend more money in film and development, instead, and spent more time taking and looking at picture than discussing and looking at equipment.

 

[archphoto]

Taking my first pictures with a 6x9 box and my father telling me that a shot could not be done right and proving his wrong at the age of 8-10.
Getting my first 35mm camera and start taking pic's others said could not turn out good and proving them wrong.
Getting hooked on MF and LF because it allowed me the pic's I wanted to take the way I wanted.
Learning a new way of photography 'cause my clients ask for it and pleasing them, 45 years after that day in Rotterdam, Holland.

Peter

 

[Chuck_P]

Visualizing the image on the GG in terms of the final densities of the negative and how much control I really do have over the final outcome---it's a powerful feelilng, confirmed by the production of a well executed negative. Perhaps not always producing an equally satisfying picture (from an artistic point of view), but I have far more successes now than ever before.

Still waiting for anything else that I can relate to a photographic epiphany, but I'm not sure what else that could possibly be. Seems that all there is left to do is to continue trying to make good pictures and that I am doing when I can.

 

[wayne naughton]

when i started to photograph for myself and stopped worrying what others thought

when i realised that a camera is nothing more than a method of capture like a piece of charcoal or a pencil

 

[Ed Sukach]

The greatest epiphany of all time was when, at the age of 12 or so, in a closet under the stairs, I saw the images appear on a roll of Verichrome (original Kodak "Verichrome" - orthochromatic black and white film) under a red safelight, in Microdol developer. Would anyone believe, "trays and tongs"?

Lately, far from being jaded, or saturated, there are epiphanies of varying strengths every day.

I've read Per Volquartz' article about archival processing, noting especially the use of a water bath to moderate contrast and potassium ferricyanide to "perk up" highlights ... That makes a LOT of sense ... now to actually DO it....

 

[zenrhino]

I'm Sure I Have More, But:

• You cant "imagine" a shot into being. You have to get the shot into the viewfinder/gg.
• Repeat above, with "light" instead of "shot."
• 1 meter, 1 film, 1 dev. Learn them. Yes, you can learn more. But learn one combo and learn it till you're zen with it.
• See above, then add in: "One of your big goals is to stop being surprised by your photography. If you're being surprised, you don't have enough control."
• Leave the pretty people in the flat light to Alec. He does them much better than you do. Stick to your mission.
• Stick to your mission. (It bears repeating)
• If people (and critics in particular) don't like the results of your mission, F'em. F'em and feed'em fish heads.
• Saying "no" to someone who wants you to shoot their wedding is the most liberating experience ever.

 

[HerrBremerhaven]

Just a couple years ago I attended an APA sponsored evening featuring a prominent advertising photographer. I was hoping to learn about his techniques for apporaching big commercial clients, and getting some really impressive images. There was a meet and mingle area (with food) in which all attending could chat about their work with other photographers and creatives; and nearly everyone expected him to be using the latest in really high end gear. After all, our featured photographer was likely easily bringing in six figures annually from his commercial clients.

Near the end of his presentation, the photographer allowed a question and answer session, and someone did ask what he was using. I should point out that he was previously an art director with no photographic experience, and had only graduated from college about twelve years earlier. Everyone was surprised that he stated almost all his shots were done with an old Crown Graphic and Schneider 135mm lens. My epiphany was that here was this guy about my age making far more income using way crappier equipment. I was literally beating myself over the head trying to buy gear, and here this guy with gear worth less than even one of my large format lenses was doing quite well in the industry.

Since that presentation event, I have barely bought any gear, and have instead concentrated upon making the most of what I already own. I have even tried to stick to mostly using one lens with my 4x5. I think my change in emphasis has vastly improved the way I make images.

Ciao!

Gordon Moat Photography

 

[markbarendt]

I took a trip with some buddies from my camera club. At the time I was still fully digital.

One of the guys took an F2 loaded with Velvia.

When we got home he dropped his film off and a few days later got back his slides.

I on the other hand was fighting through several thousand raw files for a week or two.

You could say that was the last straw for me with digital.

 

[phenix]

...Guess who stated that and when?

I'd say she covered all the bases in the first ten minutes of that first class. The best part is that she was also very technically inclined; not some "artist" who taught us to reject technical matters on principle. She taught us to use them as means to an end.

Well, 2F/2F, who is She? And, of course, when?

 

[Ed Sukach]

See above, then add in: "One of your big goals is to stop being surprised by your photography. If you're being surprised, you don't have enough control."

Realizing that you are absolutely entitled to work the way you want to... I'll only point out that you and I differ here.

If the absence of "control" is defined by a complete lack of surprise at the results ... I do NOT WANT to be in control. That surprise is more often than not, due to a final print FAR better than what I had envisioned/ expected.
To me, pressuring myself for "control" is a sign of my past insecurity, the need to be able to inafllibly prdicit the future.

I can come close to an accurate prediction if I limit the degrees of freedom... It is entirely possible to so limit the field of operation that there will be, if not completey eliminated, few surprises. Been there , done that ... have the scar tissue and T-shirt.

The work I did during that phase was the least satisfying, the most lifeless, the most devoid of emotion. Never again.

Now, I sort of thrash on through the puckerbrush, looking forward to what the film looks like in the tank, immediately after development!!

Oh... my wife tells me that I smile a LOT.

 

[Ed Sukach]

... Everyone was surprised that he stated almost all his shots were done with an old Crown Graphic and Schneider 135mm lens. My epiphany was that here was this guy about my age making far more income using way crappier equipment. I was literally beating myself over the head trying to buy gear, and here this guy with gear worth less than even one of my large format lenses was doing quite well in the industry.

A GREAT carpenter will probably work with a fine quality hammer; but the hammer itself Does NOT define the carpenter.

 

[Andrew Moxom]

My epiphany was during a Fay Godwin workshop. It came to me in seeing Fay's almost dedicated aversion to too many technical details 'clouding' your thought process and creativity. Her photographs to me speak in such great volumes, yet her approach was so simple that I realized I had wasted quite a few years struggling aimlessly tryingto look for the silver bullet in film, devs, print combinations. I now strive for simplicity and usually use no more than 3 emulsions and two developers for any combination. I meter using incident pretty much all the time and see no need to do anything else at this point. This 'freedom' and liberation of sorts allows me to focus purely on compositional aspects and having your film dev combo down pat helps, but zone system thought processes do not even enter my head, unless I see a really long subject brightness range, when always increase exposure and pull the development. I'm not knocking anyone who does strive for all the control and technical aspects, I'm just saying for me that this stuff can get in the way of actually making images. It took a long time for me to realize this method of working but I feel it fits me perfectly.

 

[removed account4]

you can't please everyone all the time ... so just do as you want.
if you do THAT, and do it as well as you can, it is really all that matters.

 

[David Brown]

• Saying "no" to someone who wants you to shoot their wedding is the most liberating experience ever.

Hear, hear!

 

[Kevin Kehler]

Three great epiphanies:

1) Watching a documentary about Ansel Adams, where he labeled himself as an artist who happened to use photography to express himself. I realized I no longer had to struggle to mimic others but could develop my own personal vision and that was acceptable since I wanted to use photography to speak and not just to record. I am a technique-weenie and there's nothing wrong with developing my own technique; there's also nothing wrong with not not using some other person's technique. This also led me back to film, since I could drive the process with what/how I wanted to say my piece and not let the process drive me which is what I felt was happening.

2) That first truly magic negative: properly exposed with loads of shadow detail, developed with all highlights intact, grain free (Pan F+ in Perceptol) and easy to print. Suddenly, "expose for shadows, develop for highlights", the Zone System, pre-visualizing the print and the importance of good technique (including recording everything in my blue notebook) all became understandable and necessary.

3) The first time I looked at one of my prints that others were praising and realizing that I didn't like it because it didn't meet my standards.