And That’s All I Know – The Man from Lebanon
Walking through the streets of Victoria Park in Perth… it’s a quite quaint .. but always an interesting place.
How interesting you might ask? I like to call Vic Park as a place where you’ll see something interesting everyday..
Perhaps that’s the way it is wherever one is – the more we take the time to observer – the more we see, that, is.. interesting.
As John Whitman Ray puts it to me in one of our many discussions – the nature of intelligence is to see the same things over an over but to find the similarities and differences with all things. Thus, we have the similarities within the stillness, and the simultaneous outer manifestation, which is differences, but with it’s own character, to every other thing.
The resistances we perceive, if any, (ie this is boring) are in fact a projection from ourselves. The more we a are willing to just be, the more we are able to manifest ‘whatever’ in our lives. Often people will justify themselves by saying I don’t have this or that to create this or that – but again once we let go of, money, for example, we can simply create from within out – the outer creation may come from a variety of sources.
I was walking through Victoria Park with my F100 and just had a feeling of knowingness about this person.
I raised me camera not knowing what to expect and then suddenly he snaps his hand out to a person crossing the road. I was pumping my autofocus back button as seconds earlier I had flicked it to F/1.8 for some reason as it felt right – and it was lagging like a freight train through Siberia in Winter.. I thought – dam I have missed this.
The Man From Lebanon
Victoria Park, Perth, Australia, 2016
Took the shot and just through ‘whatever’.
Anyway, the guy, as he put out his hand yelled to the guy crossing the road –
‘Excuse me, can you help me!?… ‘I’m from Lebanon’.
The chap crossing the road switched he head back .. paused from a nano-second and then started walking towards the man.
And That’s All I know..
I recently read an article – ‘In the Footsteps of Ansel Adams’.
I thought to myself as I perused this article. I wonder if this is a once off – or has this person hitched themselves to the shirt tales of someone else?
Yes, as it turns out they had. Even in the bio section the person claims to ‘follow’ Ansel Adams.
To me this is not what an artist should strive for. Firstly, yes, we should learn from the Masters about ‘technique’. But this is where it should stop.
Some of the Masters have a highly nuanced and mastery of technique honed over a lifetime of work in a specific area, ie in the case of Ansel Adams – Large Format Photography.
The Hat Police
There comes a point, however, where after learning the technique – we trash it and let it go. Then, we use our innate creativity which springs from within the stillness of our own minds to spring forward fresh new creative ideas which we ourselves own.
We should resist and fight against all outward advice, critique (notwithstanding technique), stylistic nuanced comments or inflections about the direction of our artistic enterprise.
We alone make this decision, and we alone are the creator of the thoughts which beat in our hearts and pulse through our mind.
It’s easy to ‘follow’ someone else’s work. Make the hard call to stop following people… and start following yourself.
Enjoy, and keep shooting.
Creation and Repetition
I recently read on a photography blog that ideas cannot just come out of somewhere – they need to be influenced by someones thoughts. Further, that thoughts themselves are original if they are a derivative of someone elses’.
There is level of experiential understanding – that once penetrated through it leaves these types of statements to the realms of farcicality.
Thought, repeated, is exactly that.
This is why we have not many real creations coming out of Asia – 99% are followed from elsewhere. Much like the rest of the world, however more so in Asia.
Asia has a hierarchical system that suppresses the will to create from a very early age – thus we see billions of followers. Great at repeating ideas but when was the last time something original came out of there?
Thought and creation, come from within – out, not in reverse.
Even if we have the ‘same’ or similar idea as someone else it can still be ‘ours’ provided it comes from within. I think the nuances of this however are lost from an intellectual analysis/perspective.
I think there’s much to read(and experience) on this intriguing subject, but certainly – creation itself is not a concept of ‘following’ or ‘adding’ – as you are just repacking another’s thoughts.
Creation itself is from the source of creation, the stillness, the silence – ‘beyond form’ – thus the statement ‘there’s no such thing as… .. invention from nothing’ is based on the concept of seeking the power of creation without, not, within.
The true creator always seeks the resolve of the stillness before attempting anything – that way the thought workflow, to use a photography expression (LOL) is kept pure.
The repeaters of the world are within all aspects of life and to a certain degree we are all impacted because of our social conditioning – within Art and Photography the same patterns exist.
You see the same Henri Cartier-Bresson attempts over and over again without any attempt to sit for 30 seconds to be inspired … to ‘create something, from nothing’.
I think that is the actual essence right there… creation, from nothing.
On Camera Selection & Form
A creative shooter seeks gear that compliments his style. This governs how chooses his equipment. As a person whom lives by fire of experience, it is this alone which stands as the one true test of acceptability.
The corpus of his modus is that, any gear he seeks, is to manifest his idea perfectly, that is all.
Should his gear encumber her in any way this stops an idea from manifesting correctly, and she discards it in lieu if something more refined.
Refined means that the ideas in ones mind flow like an an encumbered river back into the sea as the tides change, there is no separation.
Therefore, the ability to manifest our ideas is the test of whether the gear is suitable.
A creative shooter constantly assesses whether his idea is manifested as it appears in his minds eye. He seeks to make his own picture in the minds eye then project the through her veil of space and time into a medium which accurately manifests his pre-produced idea.
The argument of film and digital is erroneous to the creative mind as he sees only the result of his thinking being manifested correctly as it was first seen in his mind, or, an aberration of something thing which resembles, but is not quite his desired rendering.
A creative shooter thus encompasses all methods and forms in order to manifest his idea. All are treated with the same degree of equanimity and impartiality. The ultimate aesthetic is the aesthetic of mind, and he seeks to mirror this aesthetic in her outer reflection of his inner minds picture.
Arguments about form and outer imaginings are not something a creative shooter is entangled by, as he uses all forms, as is required to manifest his ideas.
Thus the maxim follows, that the form is only a reflection of the picture, as the true picture exists beyond its reflection, in the mind, the form is the outer imaginings of the still inner mind.
Thus the camera serves as the gateway to reproduce his idea onto her outer form, but the form is only a reproduction of the idea, just as a book is full of words which mirror the thinking of its author.
Paris, Day 553
On Grain & Picture Rendering
He who has the time to zoom into a picture at 100% magnification, does not have time to shoot creative pictures with aesthetically pleasing images.
A shooter whom is concentrating on the flow and rhythm of his ideas as firstly a concept in his mind, then watching them come to life through a camera does not have time to discuss or debate megapixel counts and noise in photos as he is too busy creating art that he manifests as a reflection mirroring his mind.
A creative shooter does not have the time energy or interest in debating the grain, noise, cropping, size or dimension of pictures as these are the effect of the cause. They offer no insight into a picture, just as symbols or words on the paper are not the music or book.
You’ll find a creative shooter has little to say about pictures, as words take away their true meaning. He is absorbed in the reflections of the image which resonate in his mind, as the picture is a deep thing, a magical thing, which reflects its idea into the minds of the recipient if she is able to observe.
A creative shooter does not have time to debate things in photographic forums nor give advice on cameras, he learns by the fire of experience, thus, gaining true knowledge.
A creative shooter takes no advice, just as he gives no advice as these are a waste of his energy, which he coils up as a spring to be released with a burst of creativity from his mind through the camera.
Any comments about photos, are taken, good and bad with the same degree of equanimity. The true and only question the shooter asks is, has my idea manifested as it should, and if so, it is good, if not, to use as a springboard to remove any obstacle in this process.
Above all else, a creative shooter does not follow, he never repeats another’s idea. He creates from writhing out, simultaneously and sequentially bouncing his ideas through time.
Paris, Day 553
I think ‘Art’, or whatever label we give it should be something pure in and of itself. Every time I see another article quoting the famous shooters from last century and then trying to relive it makes me want to throw up, jokingly…
But I would never look at their work.
To me it should be absolutely creatively inspired, not from some book you read or idea that has been planted in our minds by someone else’s notion of what the general consensus is on ‘Street Photography’.
Personally, if I follow that, ie, never follow, I love my photos and look at them all the time. That’s the style of shooter I look for and admire. wink emoticon Are we creative, or repeaters?
Paris, Day 536 – August 2015
Paris Light Studies I
Paris, Day 528
Sometimes in life it is a choice of; what not to do, or what not to think, or be. The same follows in looking at the light as its cuts it’s way through the streets of Paris.
What do we leave in, what do we leave out.
Leica M3, 50mm Summitar, f/2
Canon EOS 5D, 50mm Pancake Ai-s; Nikon, 135mm F/2.8 Revuenon
The reality, is, that creativity comes from ‘within-out, not from without-in‘, “gear”, is the vehicle in which we channel our creation, through.
Therefore, our gear, should ideally be ‘seamless’. In this regard if your gear obstructs or confuses the process in any way, it is inhibiting you.
This is the common thread or theme with Leica users, they always state the gear becomes ‘seamless’, generally speaking, thus, they are able to create more creative an inspiring photographs – because, the gear, seamless.
Seamless: there is no confusion, there is no separation, there is no barrier, there is purely a vessel in which the creation flows through with non-resistance.
Thus, we see ‘Soul’ in the photographs, as they are not a repetition of another’s work, they are original.
Comments Regarding Street Photography
Even though I find much of the work I see as totally distasteful, horrible, and invasive, by self styled street photographers – I don’t agree or accept judgments on why things should or should not be a certain way, because that is exactly what they are, judgments.
Particularly when people have a pre-disposition that they are weighing things against, and therefore judging the status quo from.
If we are following a projection of someone else’s idea’s then we will be in a position where we judge everything else from this limited viewpoint.
Bottom line, I see many people are just copying and regurgitating someone else’s work. We need to be careful in alienating entire genre’s of people, perhaps they are moving through this and searching for their own style, in the end ‘this’, is what it’s all about.