Sunday, 19. October 2014 23:04
It may be that you have never even thought about photographic formats, and you probably did not expect to be reading about them today, but a recent experience caused me to think that there may be something valuable to be learned from them.
Those who know my photographic work know that I do abstract work, much of which is sort of a photographic collage that assembles separate images of parts of a subject into a new image wherein the relationships between the parts are changed. In order to present these ideas I often arrange the images in a variety of gridded structures which allow me to examine and modify those relationships.
Let me hasten to say that I do not believe that there is anything wrong with the single-image square or rectangle (in any number of length-width ratios). Many photographers would never consider using anything else. I use them myself, but for this recent work, more complex formats provide a better structure.
This gridded structure was what I had in mind as I began work on my latest project. The photo shoot was challenging and quite lengthy, and I recall thinking at one time that the subject matter was unlike anything I had ever done before. I did not realize how different until I looked at the images in LightRoom.™ As with almost all of my shoots, there are a few images that I want to print just as they are, with no collage, no restructuring. And in this shoot, there were those. However, among the other images the potential relationships that I am used to seeing and restructuring were not there.
My first response was something close to panic. I had no idea what to do. Once the panic subsided, I realized that I would have to find new ways to deal with this material. This subject matter and the formats I had thought to use were simply not a fit; existing structures, at least those in my repertoire, would not support this imagery. What to do?
Take a flying leap into the unknown: create new structures. Find new ways to talk about the relationships of the parts. Think not just out of the box, but out of the warehouse.
This could have been devastating. Instead it was exhilarating. The old structures were comfortable and provided a known framework on which to hang images and ideas. But this material demanded otherwise. New forms were necessary to allow the communication of the ideas and emotions I was going for.
So I set out to develop new structures, new ways to present the material, and I am still developing. It is definitely a work in progress, and currently I am at the stage where I don’t like much of anything that is “completed.” So I have decided to let images sit for a time before I go back to them for editing or reconfiguring or trashing and starting over. But since I can’t quite let go of the project, I am using that “dead time” to write about it.
The lesson? Regardless of our medium (it is not such a big jump from photography to other arts), we must not confine ourselves. Yes, sometimes it is both comfortable and exciting to work within the confines of a given form, to find the limits or to find variants of those forms that might work better for certain subject matter. But sometimes even a complete reworking of old forms won’t do the job. Sometimes, the structure of the containers themselves must be different in order to reflect the uniqueness of the subject matter. Perhaps we may even want to consider new forms and structures every time we do a new project. New wine requires new bottles.