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PHOTOGRAPHY IN OUR DAILY LIVES
As many photographers instinctively know, image making is intimately tied to their identities-it is part of who they are. Because of this, in my view, photography should be made part of the image maker's life on a daily basis. I have divided this article into two parts. Part One discusses how society, economics and the subconscious fuse image making to the photographers identity. Part Two will discuss the how to, the practical and technical issues of incorporating photography into our daily lives.
MAN IN THE COURTHOUSE BATHROOM is an image that resulted from the incorporation of photography into my daily life. Having the tools at my disposal and knowing the technique necessary to capture the moment allowed me to obtain this image. The picture was taken in the bathroom of the Palm Beach County Courthouse when I walked in on this man on the "divorce floor". He was obviously in distress and suffering the emotional effects of a just rendered court decision. I had my Contax T3 in my book bag loaded with Tmax 3200 film and, despite the circumstances, the situation was right and I asked him if I could take his picture. The picture was shot with the lens wide open at F 2.8. I used a combination of effective film speed and development that I learned by much trial and error. I knew they would yield a high enough shutter speed to prevent movement with sufficient contrast to obtain a usable print. (I will discuss various techniques to use with film and digital cameras in a later article.) The image is one of my favorites because to me, it shows the human emotion resulting from decisions made in our justice system. I would never have been able to take this photograph if I did not have a camera loaded with the correct film with me and an almost instinctive knowledge of technique. I also needed the correct mental state-"I am a photographer and here is an image that has meaning to me and I am going to capture it." I can identify with the feelings conveyed in the image and it is now part of my identity. Here is my theory on how image making becomes fused with photographers identities.
A dictionary definition of identity is; "the distinguishing character or personality of an individual." Our identity is what makes us the unique people we all are. Yet our society and economy does not always encourage uniqueness. Rather, individuality is being challenged by today' s move toward standardization and efficiency-what has been referred to as the "McDonaldization" of America and, increasingly, the world.
Standardization of products and services has become ever more prevalent in order for businesses to remain efficient and to provide consumers with the consistency they expect and demand. Often, consumers are willing to accept an inferior product if that product can be delivered identically in different locations and at different times. Consumers will often accept an inferior standardized meal rather than take the risk and perhaps enjoy the reward of a unique one. This is one of the reasons that franchises are so successful. Market forces also require a high level of efficiency for companies to remain competitive. Efficient companies require uniformity of message and often spell out the very the words their employees speak to customers, the clothing their workers wear, their grooming and many other aspects of the workplace.
There are at least three benefits of these twin trends; a higher standard of living, significant amounts of free time and an increase in disposable income. One of the negative impacts is the growing homogenization (some would call it dehumanization) of participants in this system. As individuals, we are often willing to accept more uniformity and lead more normative lives in order to obtain the advantages these trends provide. It is not my intention to debate the merits of these trends, only to point out their existence and potential effects on us all.
In an increasingly homogenized world, people strive to establish their individual identities through other outlets. This, coupled with significant amounts of leisure time and a greater disposable income has increased the importance of hobbies of all types. Hobbies are one way to develop and express the "distinguishing character" which helps define our identities. The almost addictive pursuit of various hobbies, in my view, is one of the earmarks of modern man in an advanced society. It is why many people spend endless hours collecting (coins, stamps, trains-you name it), pouring over stock quotes, going to flea markets, studying hobby related magazines and books, religiously following sports statistics and news and becoming sports couch potatoes.
Is the photographer different than other hobby enthusiasts, or put another way, is image making more fused to ones identity than the pursuit of other hobbies? I think, for many of us, the answer clearly is yes! The difference between the serious photographer, and the serious stamp collector is that the photographer attempts to fulfill an unconscious desire for immortality through his or her work.
A photographer's subliminal quest for immortality is difficult if not impossible to quantify or prove but I would suggest it is present in every serious image maker. This is what separates the serious photographer from most other hobbyists. In my view it is one of the driving forces, compelling photographers to do their work, much like other serious artists. It is also why photography becomes so much a part of the image maker's identity.
An examination of the products the photographer chooses to use often reveals much about this need to have his work last beyond his lifetime. Some examples of my own thoughts on and choices of photographic products may not be dissimilar from those of other photographers.
In choosing which black and white film to use, I researched in depth my concern that CN negatives (the ones that are designed to use Process C-41 along with color negative film) did not have the life span of traditional black and white negatives. This did not prevent me from using the film but it was and is a consideration in its use. I, like many other photographers, store my negatives and prints in acid free archival products. My recent choices in the digital realm also reveal much about my concern about the longevity of my prints. I chose pigments over inks for printing and use archival paper because their life spans are touted to be significantly greater.
Admittedly, myself and others look to the longevity of their photography materials for purposes of enhancing our ability to sell our images. Who wants to face the buyer of a print that has faded after several years? However, I would chance that the vast majority of the archival photographic materials sold are bought by those of us who want all of our images to last beyond our lifetimes, not only those prints that are likely to be sold. I am 48 years old. Why else would I be concerned that my personal prints, the ones that I know will never be sold, will last for 80-100 years? When the technology improves I am certain that I will spend the additional money to convert to processes that will allow my work to last for 1000 years. In analyzing my motives, the reason is clear. I (and many of my colleagues) are anticipating and hoping that our images will not only last but be seen long after we are gone. That is not to suggest that we do not want our images to bring us some measure of recognition and income in the present. Clearly these are our primary goals. But it is my belief that we also long for, perhaps subconsciously, our work to be recognized by those that come after us.
If you agree with the premise that photography is inexorably fused with our identity, then it should naturally be made part of our lives every day-and be available to us all the time. If you disagree with all I have written so far, there are still two other good reasons to have the ability to make images all of the time. The first is that you will have the means to capture images that you would otherwise miss without the proper equipment and technique. Second, as in most fields of endeavor, it is consistent practice and constant repetition that leads to the perfection the craft.
The professionals among you may be saying; "I do this for a living and I work too hard at image making as it is and that is enough." I suggest not, and from speaking to other professionals and from reading what they say, it is often the personal work that brings them the most enjoyment and satisfaction. Having the tools at your disposal and the technique imprinted in your mind will allow you to do your personal work whenever you come on a worthy image.
The next article will be short on philosophy and long on equipment and technique. I will discuss the tools and methods that allowed me to incorporate photography into my daily life. I would enjoy hearing your comments and opinions on this article and any other topic you care to discuss.
(The author, Michael Dubiner is a professional image maker and lawyer who lives in Wellington, Florida. His articles will appear twice monthly on PixiPort. His work can be seen at PixiPort.com and at his web site, duby.com.)
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