One of the sections in the book "On Being a Photographer" [Jay B, Hurn D. (2008) Third Edition Lens WorkPublishing Anacortes WA] discusses the selection of the subject for any photograph. As Hurn says"...the photographer is, primarily, a subject selector.......a photographer's first decision is what to photograph. (p 49). It is, in one respect, a statement of the obvious and yet it is largely ignored in the teaching of photography. The impression is that the technical and qualitative elements of the photograph are more important than what was photographed. Whilst there is little doubt that the photographer has to pay attention to those elements it is debatable whether they should take precedence over the choice and capture of the subject. It is true to say that the vast majority of those who view photographs have no conscious awareness of the composition or technical quality of what they see when they view an image. Their reaction is very much at the emotional level and whether the image echoes their view of the world or casts a new light on a subject they thought they knew well. It is only when we venture into the world of judges, assessors, and selection committees that we start to hear a discussion that covers everything but what is in front of our eyes.
Hurn argues that as a photographer we should immerse ourselves in the subject matter that we plan to photograph. I know this to be true from my own personal experience - not as a photographer but as a spectator of a photographer in action. I was fortunate enough to be a member, for a time, of the Norfolk Photography Group a relatively small Camera Club one of whose members was a wildlife photographer of note. I had seen a lot of his work both as part of an exhibition and projected on screen at lectures. I had the opportunity to go with him, along with other keen wildlife photographers, on a days shoot. What was obvious to me was that our expert knew almost everything about the habits and life of the birds that he was shooting. In discussion he revealed that he had been studying the subject matter - one that fascinated him - since the age of 14 so his experience covered over 35 years. He knew instinctively what was the likely behaviour of the bird he was watching so that his camera was aimed, almost without thinking, to catch the decisive moment. Acquired knowledge about his chosen subject informed his photography and this was evident in the quality of the resultant image.
It may be worth mentioning that I have no natural affinity to wildlife in the raw or in photographs. I cannot relate to the subject matter of any wildlife image at an emotional level. When I was looking at my colleague's work I responded by admiring the quality of the print and the technical skills displayed. My admiration was largely related to the skills in the presentation.
There are two caveats that occur to me when thinking about Hurn's demand for total immersion in the subject. How does the professional photographer, faced with deadlines, cope with a subject in which he has only a passing knowledge or where new situations may arise of which he has no experience?One presumes that, unless he is in the very happy position of being able to pass up the commission, he goes and gives it his/her best shot relying heavily on the instincts of the photographer acquired over years in pursuing his trade. Intimate knowledge about the subject matter must be accompanied by an understanding of what makes a good photograph irrespective of what the camera is pointing at.
My second caveat is the danger of researching the subject over a significant period of time leading either to paralysis in starting the project or of being incapable of finishing it. An example of this is W. Eugene Smith's "Pittsburgh Project". In his foreword to the book [Stephenson Sam (ed.) ((2001) Dream Street W.Eugene Smith's Pittsburgh Project. Centre for Documentary Studies at Duke University New York. Norton & Co]. We are told (p.18) that "On each assignment Smith spent several days or weeks observing the the location and mingling with people before he took his first photograph". In other words he too believed in fully researching the subject matter. However his commission was to spend three weeks in Pittsburgh and produce 100 photographs for a book commemorating the city's biennial. In the end he had taken almost 17000 images of the city during the greater part of 1955 and on return trips in 1956 and 1957. In a speech to the American Society of Magazine Photographers' Photojournalism Conference in April 1959 Smith acknowledged that Pittsburgh, to him, was a failure. He said that "The main problem, I think, is that there is no end to such a subject asPittsburgh and no way to finish it". (p 17 sidebar). Whilst it would be fair to say that Smith had many other problems that contributed to the problem I do believe that he is an extreme example of a common problem amongst photographers.
I would not consider myself an obsessive person but perhaps I am not the best one to judge! In an earlier Course with the OCA I decided to produce a photographic essay on the 95th Foot Regiment who were heavily involved in the Peninsular Wars and also fought at Waterloo. I discovered a re-enactment Society that was holding a weekend re-enactment near to where I live. I realised that I needed to research the history of the Regiment and started the process by going online to review all the material available for study. I also visited the Regimental Museum in Winchester and spoke to the staff there who were very helpful. Having read some of the history online I purchased 4 books written by Officers and Men who had served with the Regiment during the time of the Peninsular Wars. As I read I found reference to other sources - my interest had been grabbed. The weekend and the chance to talk with the very knowledgeable members offered further avenues for research and well over 300 images. I began to pursue these further lines of enquiry until one day I realised I was drowning in information and an inability to tailor the work load to the Assignment requirements. My deadline was approaching fast and I came to realise that my interest in the subject matter had blinded me to the requirements of the Assignment. Fortunately I was able to step back and see where I should be going rather than where my heart was taking me. It was a lesson well learnt but even now I have to take stock of what I am doing and that my love of reading and research does not become the be all and end all of my time with the OCA.
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