Tag Archives: book

Interviews

Nils Karlson – Earth Stands Still

Friends –
I feel I’ve let you down. You see, I’ve known for a few weeks now that Nils Karlson’s book, “Earth Stands Still”, would be coming via crowdfunding. I’ve known this whole time that it was going to be a triumph of pinhole minimalism. But due to some travel and a mixup, I’m getting this announcement out a few days late. To say the book is flying off the shelves is an understatement, and I’m so happy to see that Nils’s work is being received so well. So for those of you who miss out, I apologize!

You have to check out Nils’s work. What follows is the ƒ/D interview with him, along with some sample imagery. Have a gander, and then head over to his IndieGoGo – and fast! There’s barely any copies left, and it is a limited printing.

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ƒ/D: How did you discover your passion for photographing coastal areas in this impressionistic way? Is it a vision that you had been searching for? Did you start with some happy accidents that developed into something more? Something else?
NK: It started out with a rather usual approach, trying to record the scene as it appeared in front of my eyes. But I have never found a true connection to my subject by this. This changed when I stumbled over an excellent book – „Liquid Light“ by Fabien Baron – at the photobook exhibition in Cologne 2014. It featured the most minimal and quiet photos of the seascape I have ever seen: All long exposure images, featuring the horizon dead centre in a vertical frame. This became my starting point for this leg of the journey, and several concepts in respect of technical approach evolved from here.

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What influence has the shore had on other aspects of your life?
As long as I can remember I was drawn to the sea. We used to spend summer vacations at the North Sea, and I was always fascinated by the view, sound, scent, and feel. Today, I love the vastness, when you can see for miles and miles. In the densely populated area I live in, you will not find that. There will always be some kind of obstruction. Also the light has a unique character, especially in the very early or late hours. I travels through a lot of atmopshere, where it gets scattered and incredibly soft. Fortunately, my wife loves the sea, too – and it is a great place to bring our dogs!

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These sorts of minimalist impressionist photos leave so much space for the viewer to explore their own feelings in the scene. What do you find yourself getting from them?
The answer lies within he question – it is space what I am looking for. Vast spaces, where the eye can wander without obstacles. Silence is made of vast spaces bare of distraction, and silence might be the most profound factor i am searching for.

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You quote lyrics from the band No Omega in your book, a passage questioning modern society’s priorities. The photos in the book are like an epiphany of calm, while No Omega is anything but. Can you talk about how you relate this harsh music to your nature photography?
That’s a long, and probably confusing story, but I will try to make it somehow cohesive. Ever since I can remember, I had difficulties to filter sensory impressions, especially noise. This put a lot of stress on me, and the first device to control all these impresions was sister’s first walkman. Wearing headphones, I was able to control sound from the outer world as well as the crippling voice of self­soubt (latter one only to a small degree). This brought me to music, and to the drums when I was about eleven. The more ferocious and noisy the music, the better it works as a shield – bury the sound under another sound. It was a progression from bands like Iron Maiden, Deep Purple and Jethro Tull over Anthrax, a lot of bay area thrash and death metal. As I found the lyrics of most bands well beyond cheesy, I expanded my vocabulary to hardcore and eventually lots of political grindcore and experimental bands. Listening to all that rather noisy music used to be my safety blanket. But after all these years, it started to wear off. When my wife and me had a vacation on La Palma (Canary Islands) in 2009, it was the first time I was confronted with silence. Actually, this trip was the foundation for pretty much everything I do in the photographic realm these days. Since then, it has become like a quest for me – seeking silence. I seek the most quiet dialogue with the landscape. When I crate these photos, I never listen to music. I don’t need to. The problem is that I do not find that silence where I live. That’s where I fall into old patterns and use music as a suit of armor. But still, I find the lyrical content of music to be a crucial factor, and I am always looking for bands who are passionate and authentic. No Omega is one of these bands, and I find myself in their music to a point which is beyond my means of written expression. Actually I have a quite braod taste in music, with a lot of Indie, old (and old­sounding) Emocore, and instrumental bands with a „cinemascope approach“ balancing the fury. I live in a constant state of contradictions existing simultaneously anyway, and I have stopped believing in the concepts of absolute truth. Embrace Ambivalence.

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There are many studies of the shore in this book, and I’m sure many many that didn’t quite make the cut. How do you choose?
Even in high quality photo books, I often miss a cohesive story, flow, and dramaturgy. My goal was to treat the book like a musical album. Have an Intro, build and release some tension, finish on a a strong, but subtle note. Creating an organic flow of light, colour, and atmopshere was the most time consuming aspect. A lot of strong and beautiful photos do not appear in this book, as they just did not fit into the flow. Other photos, which I found to be just „quite decent“ without context, proved to support the story, leading to a perfect sequence of images. Editing is hard though. Sometimes you have to push your favourite kid off the cliff.

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What technologies did you use to shoot these photos? Were they all pinhole?
For seascapes, I love to work with long exposures, whether in a normal camera or lensless.

In Earth Stands Still, one of the three chapters is dedicated to the vision of the pinhole camera. Isn’t it amazing how the very stripped down to the bare bones concept of the pinhole camera yields such atmopshere and mystery? Throughout the few years I am using pinholes, I have tested a lot of different cameras. The difference in the way they render a photo is stunning, having each a distinct characteristic on their own, just like some lenses. Also, I find it to be fascinating to work without any kind of finder – everything is more of a guess, from composition to the inaccuracy of the manual exposure. The pinhole rules out all the „merits“ of the technical revolution, and becomes much more a part of the person using it.

Another technique I use to depart from the scene in front of my eyes towards the image inside my head, are intentional camera movements. These are inspired by Australian photographer Steve Coleman and other artists he featured on his blog. Ethis technique benefit from happy accidents, though I also practiced different movements with a small digital camera before transferring the knowledge into the realm of film.

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Aesthetic, General

Book Review: Letting Go of the Camera

“Letting Go of the Camera” is the second Brooks Jensen book that I’ve read. Like the other book, Creative Life in Photography, this is a collection of essays and ruminations. But this time he’s turned his attention more towards the meta of creativity in photography.

He’s touching on a lot of concepts in creativity and photography that, honestly, are what led to my taking up pinhole in the first place. It’s been nearly a decade since I built my first pinhole camera (outside of a photo class) and fell in love with the process. Pinhole for me was a response to the rising trend in DSLR shooting and perfection. At the time, there was so much volume in my shooting. I was filling memory disks like mad. But there was rarely time that I was taking to see. Like a junky, I was voraciously consuming, and the DSLR gave me a fix.

So it is in that spirit that pinhole provided a very needed detox from this habit. Suddenly I wasn’t shooting bursts of photos but rather waiting seconds or minutes for a single exposure. I wasn’t obsessively composing but rather guesstimating based on angles. And I wasn’t filling memory cards but rather mindfully choosing compositions to use precious film on.

The result, for me at least, is that pinhole photography is a much more meditative process than any other form of photography. Several days ago I was at the West Side Market in Cleveland making an indoor exposure that, once corrected for reciprocity, took 18 minutes. That was 18 minutes of observance that I could do. Looking at what to shoot next. Watching the crowds. Observing how people shopped. Seeing. It was 18 minutes of the compassionate observance that David Foster Wallace described in “This is Water”. If I had shot that with a DSLR, I would have cranked up the ISO and opened the aperture enough to get me 1/60th exposure and just moved on.

So what the hell does watching people for 18 minutes have to do with “Letting Go”? Brooks Jensen is asking us to take this time, so that we may be better photographers. He’s not only a photographer, he’s also the publisher of Lens Work magazine, and the host of a number of workshops. In these workshops he’s seen tons of work, but “rarely see photographs that relate to [photographers’] lives, thoughts, feelings, or experiences.” Throughout the book, he’s practically begging us to take a little extra time and look at things differently.

Brooks argues for mastering the craft of photography so that we can let go as, “the true master is one who, indeed, has total control and then lets go and allows an accident to happen.” That’s practically a mantra for excellent pinhole photography. He challenges photographers to photograph what you feel, so that you “let go of yourself and let your subject speak directly to your audience.”

We all know that travel to an unfamiliar place can help spur the creative spirit, but Brooks challenges us to be better in this regard as well, noting that:

It seems that photography presents us with a choice unique in the field of art. We can work to find something new that has never been photographed before and claim it as our unique photographic turf or we can accept the challenge to use our tools as merely tools and realize that the real task of being a photographer is to develop ourselves as conduits for the inspiration that creates artwork. One path leads to tomorrow’s clichés. The other path leads to artwork that seems to endure. One eventually is easy; one is profound.

Brooks absolutely pulls no punches in this regard, also noting that “a great deal of what passes for fine art photography today is not based on vision, talent, or craft; it is based simply on access.” This is a notion that I identify with strongly, and am also toiled by. In our daily lives, hustling about with work and family duties, it can be extremely hard to develop a vision in the seemingly mundane.

However Brooks too understands this struggle, and provides guidance there. Noting examples such as Sudek and Wynn Bullock as great examples of photographers that have realized that “the key is to integrate our art into our life, not the other way around.” Even so, shooting over and over the same areas of our lives can be drivel, right? But no, says Brooks, noting that “Weston took 29 photos of peppers before he finally took his famous Pepper No. 30, and he may have taken many more afterwards.” Brooks expands to note that:

The paradox is simply this: repetition of what has already been done is a useful technical exercise but rarely produces artwork of merit. Repetition of your own creative vision however, leads to refinement, increased depth and sensitivity, and generally does produce better artwork.

It’s that refinement of craft that he’s really driving at. It’s this level of dedication to a topic, and staying to what you know, that is so readily apparent in the wonderful collection that Andy Adams curated in “Looking at the Land”.

There’s so much more to this book then I could possibly cover here. Brooks has been through the ups and downs of a photographic career that has spanned just about every perspective in photography, and has done an excellent job of compiling the many perspectives that come with that career. This is a great read for any photographer – pinholer or not. I encourage you to give it a read – it’s an easy and accessible one – and pursue your photography with increased passion and mindfulness.

“Letting Go of the Camera” is available at Amazon ($5.95 Kindle edition/other formats available)

 

Aesthetic, Articles

Book Review: The Creative Life in Photography

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In photography, perhaps more than other visual arts, it can be very easy to slip away from what makes it an art. We spend so much time analyzing films, chemistry, physics, and gear (all the glorious gear!) that sometimes we don’t leave any time to think about why we may have gotten into this mess in the first place.

So today I wanted to take a moment to discuss a photography book that left all of that behind. Not only is there not a single paragraph detailing technology in Brooks Jensen’s The Creative Life in Photography, there’s not even a single photograph! In many ways, this is exactly the photography book that many of us need.

If you’re not familiar with Brooks, he’s the founder and editor of Lenswork magazine, a publication I’ve respected greatly over the years. He’s also a very accomplished photographer in his own right. Although he’s not a pinhole photographer (nobody’s perfect), his years as a professional photographer and curator of photography have given him some very valuable insights into how to be a better photographer and how to be a successful photographer (whatever that means for you).

In Creative Life in Photography, he’s collected for the reader a number of his editorial essays from Lenswork over the years. This makes the book exceptionally easy to read – 15 minutes gets you through an editorial to think about for a day or two before you return for the next one. What follows are some of my favorite excerpts from the book. Not to worry – I left plenty out for you to discover and explore yourself.

On making great artistic accomplishments:

Great art always works on multiple levels. It appeals to the sophisticated aficionado, the superbly trained and appreciative peer, and at the same time to the masses who have less appreciation of the intricacies, but nonetheless respond at a level appropriate to their training. I am reminded of the portrayal of Mozart in the fictionalized movie Amadeus. His work was appreciated (well, actually despised ) for its fine subtleties of genius by his peer Salieri, and at the same time enjoyed by the masses for its sheer enjoyability and accessibility.

On the importance of art teaching us to see that which we overlooked before:

Landscapes were just background until artists taught us to see them. Those monks who crossed the Alps in medieval times didn’t look to the hills as beautiful examples of nature. They thought those mountains were a burden and would have liked to flatten them out into nice rolling plains that would be easier to traverse. Now we look at the Alps and say they are beautiful precisely because the artists have taught us to see them as beautiful.

On discovery and seeing:

One of my favorite quotes is from Nobel Prize winner Albert SzentGyorgyi: “Discovery consists of seeing what everybody has seen and thinking what nobody has thought.”

On finding great photographs within your own surroundings, and resisting the temptation to find greatness in unfamiliar lands:

Could it be that the great photographers make their great images because they spring from their life, whereas the majority of “amateurs” fail to make great photographs because they are too busy trying to photograph someone else’s life, someone else’s landscape, someone else’s experience? Perhaps instead of going out looking for subject matter, we should simply try to clearly see our life as it is and find the images of significance that surround us.

One passage I found particularly interesting was about his process when he does go to a new place. He found that, like myself and I’m sure many others, he would have a hard time seeing beyond the straightforward and obvious. For a time, this frustrated him. Eventually though he learned to cope with this tendency – he now sets about getting the obvious shots out of his system. He indulges the urge to get the first 10 or 20 obvious shots out of the way. This accomplishes two things.

First, it allows him to move past the obvious, rather than spend the mental energy to fight the urge. Second, he uses these shots to get more familiar with the place, so that by the time he’s done with these shots, he’s got a better understanding of what he’s seeing. Pinhole takes some time to do these photos, especially if you know you’re going to not like them later. So I adapted his process – I shoot these photos with my phone. This way I get to see the obvious, explore for the less than obvious, and get a quick check on my exposure settings.

Over the years, I’ve learned that such obvious compositions are an important part of the “loosening up” phase of my process, like limbering stiff joints after a long drive. I photograph with self- indulgent patience, but universally find these images of little use. They are too predictable.

The final piece of his book that really got me was his discussion of artist statements. He’s read a lot of artist statements in his day, and in a nutshell, detests most of them. If you’re a serious artist, his discussion on artist statements alone is worth the few bucks for the book.