Tag Archives: street photography

Reinhold 'Gaffa' Quisenberry Holt

September 6, 2015

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.

1000 Days in Paris-1-4

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.

1000 Days in Paris-1-2

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
Jeremy

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Reinhold 'Gaffa' Quisenberry Holt

August 20, 2015

Photographic Art

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?

Keep Shooting,
Jeremy

Paris, Day 536 – August 2015

Reinhold 'Gaffa' Quisenberry Holt

July 30, 2015

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.

Keep shooting,
Jeremy

Reinhold 'Gaffa' Quisenberry Holt

April 27, 2015

SLR or Rangefinder

I would say, something is lost by not ‘seeing through the lens‘. Rangefinders are quite limited I’ve found in this respect especially when getting the exact feel for depth of field.

People attached to the Leica Dream are going to justify why they should buy one. The reality is that a painter and an artist utilises all tools to create his masterpiece, in whatever medium suits the purpose. Attachment to SLR or Rangefinder limits and excludes the other.

Regarding Street Photography, one can use any size camera and be unseen, it is the attitude that counts, not what gear we use. The creativity behind the camera is what matters.

What I’ve found is a common error in nearly every review I’ve seen regarding this subject. People thinking that they should or need to choose one over the other; SLR or Rangefinder. This is an error in thinking, where we are only seeing things from being identified from a singular perspective. 

Gradually we can see in alternatives, then holographic and fourth dimensional thinking where we can consider many options all with alternatives, and all from a variety of simultaneous viewpoints. 

Street photographers seem to be making the same material as they perceive they need to. ie they mostly follow the trend of the great masters. True creativity and street photography does not follow any curve of way or pattern, it simply exists in the moment, when we choose it to.

This also follows in terms of black and white vs colour. B&W tends to draw our attention to a message in the photo itself, as everything is distilled into this message.

Colour seems to be much more complex, as we need to consider the light in far more detail, as there is simply more happening in the frame, and more of a spectrum to consider… 

It follows then, that colour photography, arguably is more complicated for this reason, and requires more thought both pre and post production for the shot. This won’t sit well with street photographers insisting to follow the herd in regards to the masters from 5 decades ago.

On the other hand we can reactively say, ‘I’m doing it my way‘, as if bouncing an echo of the canyon wall… that’s a start, but one is simply reacting. One must learn to go beyond the limitations of duality and thinking, and become more immersed into just being, and learning to create from within out as we observe the world around us with non-attachment.

Follow what ever path that inspires, absolutely, but make your own way…

Notes:

1. Gradualist thinking concepts are explained in more detail in the Logic in Sequences Series, and the Visualization and Consciousness Classes – John Whitman Ray.

2. The author has owned all types of camera systems rangefinder, SLR and DSLR in medium/35mm format.