Equivalence: The Perennial Trend

[Darin Boville]

I was digging through my scanned images trying to find a shot that exemplifies White's notion of "equivalence." I think this one qualifies, in that the shape of the light is rather blatantly suggestive of something other than doors and carpet, and, uncharacteristically for me, I had this duality in mind when making the image.* Does it succeed based on White's definition? I really don't know.

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If you are talking about the light forming the shape of a Christian cross then I would call that a metaphor, not an equivalent.

--Darin

[Peter Lewin]

I was digging through my scanned images trying to find a shot that exemplifies White's notion of "equivalence." I think this one qualifies, in that the shape of the light is rather blatantly suggestive of something other than doors and carpet, and, uncharacteristically for me, I had this duality in mind when making the image.* Does it succeed based on White's definition? I really don't know.


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Jonathan: I think this is a great image. And yes, like Darin, of course I see the image of a cross, although I think as a really good abstract, it is open to other interpretations, or phrased differently, various viewers will probably see different things in it. So to repeat, I think it is a wonderful abstract image. The difficulty I have with this entire thread is that, as many have pointed out, it is taking a visual art form and trying to deconstruct it with words. And while I sincerely appreciate the amount of art study that several posters bring to the thread, I also see another of these "two groups" things going on, those with art education, and those like me who simply love photography. And of course I have to make an admission: whenever I get into debates about art majors and their efforts to intellectualize everything, I do get into arguments with my daughter, who was one...and is now working on her MA in Art Education...

[Darin Boville]

whenever I get into debates about art majors and their efforts to intellectualize everything

Hey Peter, I don't have an MFA or any other degree in the arts. I think that is probably one of the worst things an artist can do to themselves. Well, not as bad as a degree in English or Philosophy but you get my point! I'm not anti-intellectual--I highly recommend a degree in *something.* For myself, I have a masters degree in public policy....it's been quite useful.

--Darin

[jcoldslabs]

I don't have an MFA or any other degree in the arts. I think that is probably one of the worst things an artist can do to themselves. Well, not as bad as a degree in English or Philosophy...

D'oh! I've got both a BA in English and an MFA. I hope I haven't damaged myself irrevocably.

The difficulty I have with this entire thread is that, as many have pointed out, it is taking a visual art form and trying to deconstruct it with words.

I agree. It might be better to "reply" to images with other images instead of words, but that would be equally futile.

Jonathan

[pdmoylan]

[QUOTE=Miguel Coquis;1178125]

Seems to me that this thread continues to circle around on itself...
Meanwhile, creative camera work moves as perpetuum mobile.
Besides the endless comments, some have chosen to "say" with grey tones (including black and white) and to "play" low, middle and high keys light intensities through their photographic production.
Some photographs can represent outer/inner visual process, all together in a particular intensity producing physical, emotional or intellectual reaction in the viewer.
One can be more or less aware of energy moving during a lecture, it is also possible to recognize different qualities of attention (...what kind of attention, now ?).
When trying to maintain alive the dynamics (symbiosis) between real, symbolic and imagined, and sharing with others, perhaps one is getting a taste of "equivalence"

For me this evokes mystery. Yet I do not have a correspondent reaction lacking an immediate emotional connection with it. It may not rise to equivilence for me. Yet Miguel may have intended to provide a basis for such recall. I am particular to images which are distinctly individual, a creative perspective that I could not have envisioned but which has a distinct emotional impact upon me. A newness/freshness is what I seek both in my own work and in others. Perhaps this is what White had in mind.

As to intention, ideas, however, are best conveyed in a series of images (think Diptychs or Tripdychs) creating a "platform" for intellectual discernment. Aren't we more taken with artists whose productivity across decades provides the fodder extraction of intentions.

With the visiccitudes of light, movement etc imposition of intention in photography becomes rather suspect. I refer back to my prior points which suggest that a "controlled enviroment (i.e. studio, unchanging night lights or other controlled circumstance) may allow for perhaps what Miguel is attempting to evoke in us. Otherwise, it is a crap shoot .

PDM

[pdmoylan]

I was digging through my scanned images trying to find a shot that exemplifies White's notion of "equivalence." I think this one qualifies, in that the shape of the light is rather blatantly suggestive of something other than doors and carpet, and, uncharacteristically for me, I had this duality in mind when making the image.* Does it succeed based on White's definition? I really don't know.




Jonathan


*This image is not large format, but I hope the moderators will allow it for the purposes of this discussion since it is the most illustrative example I could find.

Jonathan,

As I said many months ago, your fresh vision which is sourced by experimentation (without needing to emulate others it would appear) frequently brings me through the doors of new emotions. I am not sure there is any real correspondence here, that it, dismissing the obvious christian reference which I immediately discount; however I submit that your "construction" of the end size of the print which is singular lends itself to a notion of intention more than typical 4x5 and 8x10 (and their proprotional derivatives). You have taken a perhaps serendipitous event and molded it into a intentioned shape. This perhaps is afar as the equivilence experience can take us.

Having graduated with a BA double major in Comp Lit and Art History, I wish I could see with your eyes. Keep it coming.

PDM

[Kirk Gittings]

So impressed with this thread, this is the next level work. You know how to use your camera, your development and printing techniques are sorted. You can start responding with the camera, instead of merely recording. It becomes more improvisational the more skilled you become, because technique is assured. Great read, thanks for the link. The images in this thread are first rate. The very first image of the web, window and world is nothing short of a complete revelation.

I have been watching this thread but never felt like I needed to say anything-perhaps because the ideas here are second nature to me having "grown up" in photography in the late 60's and early 70's. It didn't really cross my mind that this could be new to anyone much less a revelation. Good for you Holden! This is this forum at its best.

[Kirk Gittings]

I was digging through my scanned images trying to find a shot that exemplifies White's notion of "equivalence." I think this one qualifies, in that the shape of the light is rather blatantly suggestive of something other than doors and carpet, and, uncharacteristically for me, I had this duality in mind when making the image.* Does it succeed based on White's definition? I really don't know.




Jonathan


*This image is not large format, but I hope the moderators will allow it for the purposes of this discussion since it is the most illustrative example I could find.

Friken' brilliant.

[austin granger]

I've decided that from here on, I'm going to try and only speak in photographs. That way I won't risk tying myself into knots in attempting to explain myself. You are probably relieved.

...I don't have an MFA or any other degree in the arts. I think that is probably one of the worst things an artist can do to themselves. Well, not as bad as a degree in English or Philosophy but you get my point!...-Darin

Hey, I resemble that remark! (BA in Philosophy, University of California at Santa Cruz, 1996. With honors-ha!)




Winchester Bay, Oregon by austin granger, on Flickr

Astoria by austin granger, on Flickr

In the Basement, Brentwood Street, Portland by austin granger, on Flickr

[Holdenrichards]

I have been watching this thread but never felt like I needed to say anything-perhaps because the ideas here are second nature to me having "grown up" in photography in the late 60's and early 70's. It didn't really cross my mind that this could be new to anyone much less a revelation. Good for you Holden! This is this forum at its best.

Cheers Kirk! And yeah I get a lot from this forum, helps more than you know