An overlooked, yet critical element of a satisfying photograph?

[John Kasaian]

Here is something I've been thinking about regarding landscapes, so I thought I'd hang it out to get other opinions from my esteemed LF friends:

Before the camera, before the film, before the lens. Before the understanding of theory or the honing of craft, even before the understanding or perception of style and art, there is a notion---no, its more than a notion, an understanding, knowlege(faith? maybe revelation?) that the world is indeed a "magical" place. A place where the sun, moon, stars, the sea, and countless geological, animal and atmospheric "things" are happening, not randomly but more like a symphony(like the tides, the movements of stars, and the migration of birds) This would be the first step to the desire to take(or make) a photograph of a part of it.

What do you think??

Cheers!

[Gem Singer]

Hi John,

I think that this was probably the main motivation for a caveman when he carved and painted images of those natural objects and happenings on the walls of his cave . He wanted to share his thoughts and observations with his fellow beings.

[Alex Hawley]

Another primal thread John!

Yes, this is certainly true. All these things work together in nature, and so they do in a photograph. Trying to deal with just one part seperate from the others just doesn't work.

This also allows the non-famous places in the world to yield good photographs. I mean, we all can't photograph the Grand Canyon or Monument Valley all the time. And hw many times have those famous places been photographed, by photographers famous and not famous? Gets to be boring after while. Branch out. See what's in Podunk County. Or see what's laying around the house.

[Bill_1856]

Sounds like Minor White's ZEN philosophy and a few tokes of Mexican Gold. IMO the greatest pictures (landscape and other) are made from conflict and paradox, not beauty and harmony.

[John Kasaian]

Bill---Conflict and paradox aren't contrary to what I'm proposing. A paradox is, according to Chesterton: "A Truth standing on It's head to be noticed."---I think that was his qoute, anyway. Certainly erosion is a conflict.

As Alex points out interesting landscape photographs don't have to all come from National Parks. Perhaps the reason why we can take satisfying photos close to home is because we are a part of where we live, part of the pattern like when we put away patio furniture for the winter or plant tomatos in the spring. If we allow ourselves to be aware of what we're doing and our "spot" in the natural order of things, inspiration shouldn't be too far away. (Of course, IMHO, any excuse for a road trip is a good excuse!)

[Don Harpold]

Hello John,

What about some of us that slowed down to notice the "magical" things more or differently after taking up photography. I am still fairly new to serious amatuer photography and have found that I look closer at the landscape or the cityscape and try to see how it would look best on film, and how I would compose it in a square or 4X5. It has certainly changed my perception of some the things around me. I know that may not say much for my appreciation of my surroundings pre photography but it has caused me to grow.

Don

[Ralph Barker]

I think I agree, John. It's that sensing of the magic that brings the camera to the eye, or puts the head beneath the darkcloth. The trick, I suppose, is getting the visceral, emotional response to team up with the intellect needed to expose the film well.

[Eric_3793]

John and Bill, I think the most interesting landscape photos come from defining your place as a human being (or lack thereof) in the natural world. Going beyond simply recording natural beauty. RE: this idea, see Mark Klett.

[Bruce Barlow]

Ilike what Wendell Berry wrote in his novel "Jayber Crow":

"What I had come to know (by feeling only) was that the place's true being, its presence, you might say, was a sort of current, like an underground flow of water, except that the flowing was in all directions yet did not flow away. When it rose into your heart and throat, you felt joy and sorrow at the same time, and the joining of times and lives. To come into the presence of the place was to know life and death, and to be near in all your thoughts to laughter and to tears. This would come over you and then pass away, as fragile as a moment of light."

Would that I could capture such moments of light. I live in a place that moves me to tears like this quotation, and I have yet to pull one decent photograph from it.

Guess that makes it a life's work.

Bruce

[Mark_3632]

John

That wonder of the world you describe is in everyone when they are kids. It is growing up that dulls us to the wonders around us. It is a gradual process that begins when we are very young and become "too old" for fanciful thoughts. I see it every day as a teacher of adolescents. a few years ago one of my ten year olds wrote in his journal:

"Santa I hope with all my heart you are real. If you are fake like every one else says you are, then what else is a lie?"

As photographers, or any artist who deals with natural things, we are open to this wonder. Somewhere along the way the flame that lights the wonder and amazement of the world around us was fanned. For many unfortunate people the light is completely extinguished.

Whether a moment of light reflected off a red stone mesa or the carefully planned pop of a studio flash, the most successful photographs begin with the wonder.