Paul Caponigro Retrospective/CA

[Brian Ellis]

Me, too. Actually the way I heard it, the deer were on a deer farm and herded by the farmer for the image. Still a wonderful image.

That's basically it. If you watch the video that's linked in Merg's first post in this thread you'll see him explain exactly how he did it.

[Brian Ellis]

I think it was Ansel Adams who in talking about Minor White said something to the effect that he was a great photographer but he should forget all the mumbo jumbo. I feel the same way about Paul Caponigro. I remember reading an interview conducted by his son John Paul that appeared in Photo Techniques magazine (I think) years ago. I read and re-read the interview several times and still had difficulty understanding what he was talking about. I admire his photography and if the "mumbo jumbo" helps him make those photographs then that's great - for him.

The other photographer who IMHO falls in the same category - interesting photographs, could do without the philosophy - is Wynn Bullock. I understood little of anything he wrote. When I read that even Minor White couldn't understand him I felt a lot better.

I freely admit that just because I can't understand these three photographers doesn't mean nobody else can. It may very well be my own ignorance and if their words help others make the photographs they want to make that's fine. It just doesn't resonate with me.

[frotog]

I would not call the "mumbo jumbo" philosophy. I rather see it as proto-new-age babble not unlike something you'd read in a Carlos Casteneda novel...

"When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence." -Minor White

Maybe he approached his crush on P. Caponigro on that long cross country drive in a similar fashion.

[Kirk Gittings]

If the "mumbo jumbo" describes what motivates an artist I like then I definitely want to hear it. I don't have to agree with it but why wouldn't I want to know the motivations and philosophies of someone who's work I admire?

Here is another example of current "mumbo jumbo"-ideas that have currency in many circles.

These images are unique, not only because of their technical approach, but for the fact that they are from rare moments of creation showcasing its amazing natural light and beauty. I did not do this… Nature, the Creator is the greatest artist!
Fatali

FWIW, I've got a video interview coming up that (based on the comments above) is full of my own personal "mumbo jumbo". I don't usually talk about such thoughts but when someone asks me what my motivation is out it comes. If someone really want to know............I'll be sure to post a link to it here when it gets published online-should be interesting.

"When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence." -Minor White

As a "practice" that kind of approach is highly useful. I practice exactly such when photographing, because it helps me focus my full attention on the subject and find what it was in the subject that initially drew my attention. It helps me cut through all the noise in my head from my busy crazy life and actually see and feel what is in front of me. IE It helps me become mentally present in the moment with the subject. It is a practice akin to mindful meditation. I think my photographs benefit by such an approach.

[frotog]

"When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don't leave until you have captured its essence."
Silly me, I just assumed that Mr. White was referring to the art of seducing young men as a closeted homosexual male. All kidding aside, when you read his writings through this lens it makes sense of what otherwise reads as treacly new-age nonsense. But if those rocks you're photographing are actually talking, nodding and gesticulating or "affirming your presence" somehow then perhaps you should consider shooting some video in addition to the stills for your "practice".

[Mark Sampson]

Caponigro (or was it A. Adams?) is said to have told Minor White "Head for the cosmos, Minor, they'll never corner you there!" Mr. Caponigro's work is as good as it gets; go to the show, look at the photographs, ignore the words. Or gossip about the words and what they 'really' mean, just like you were on talk radio or TMZ. Your choice.

[Brian Ellis]

If the "mumbo jumbo" describes what motivates an artist I like then I definitely want to hear it. I don't have to agree with it but why wouldn't I want to know the motivations and philosophies of someone who's work I admire? . . .

It's not a matter of agreeing with anything, it's a question of ability to understand. If you can read some of Paul Caponigro's writing or writings about him, or Minor White's or Wynn Bullock's, and understand and use their "motivations and philosophies," that's certainly fine as I said in my earlier message. I just had a lot of trouble figuring out what any of the three were talking about much of the time and therefore couldn't use it.

From one of my favorite photography books, "Minor White: Rites and Passages:"

"For all the writing and talking that he did, for all his reputation as an intellectual and as a spokesman, even as a poet, he was not articulate. Many people were often impatient with what has been called, many times, his 'mumbo jumbo.' "

[Doug Howk]

Another helpful video on Caponigro
I'm reminded of viewing Gothic Cathedrals. If what you see is a mass of stone & glass, then you are not really seeing/photographing what it is. Quoting from Philip Ball in "Universe of Stone":

The stone armature of the cathedral is a conduit for the power surging through the stones: 'there is no inert matter' says von Simson, 'only active energy'

I think its a matter of how Caponigro approaches his subject

[Kirk Gittings]

It's not a matter of agreeing with anything, it's a question of ability to understand. If you can read some of Paul Caponigro's writing or writings about him, or Minor White's or Wynn Bullock's, and understand and use their "motivations and philosophies," that's certainly fine as I said in my earlier message. I just had a lot of trouble figuring out what any of the three were talking about muc
h of the time and therefore couldn't use it.

From one of my favorite photography books, "Minor White: Rites and Passages:"
"For all the writing and talking that he did, for all his reputation as an intellectual and as a spokesman, even as a poet, he was not articulate. Many people were often impatient with what has been called, many times, his 'mumbo jumbo.' "

I believe part of it is the Gurdjieff influence. Very difficult and sometimes impenetrable, but an interesting way of thinking if you can find your way through it to what he is trying to say. But back to MW-to find usefullness in his "mumbo jumbo" doesn't actually require belief or complete understanding. It is much like Buddist meditation-the mere practice of meditation with or without belief or understanding, has benefits.

[Ken Lee]

I'm one of many indebted to Minor White for introducing me in my youth (through his books) to a greater depth in photography, in both its technical and contemplative aspects.

He may not have been the most articulate spokesperson for either, but he served well as a "herald". Once alerted, I was able to investigate further with other teachers but it was Minor who pointed the way.

What appears to some as mumbo jumbo can be adequate instruction to others. After all, our photography is a reflection of our capacity to apprehend. We're all different, fortunately.

I would certainly attend that Paul Caponigro retrospective if I could.