Well, that is a pretty personal question, and the chances that my answer will entirely satisfy those who are skeptical about this medium are very poor indeed. Still, I believe that there are certain universal truths about black and white which make it a perfect communication vehicle for some, while it alienates others. Among those truths are: 1) It forces us to see things in a surreal way; 2) It forces us to concentrate on tone, line, shape, composition, focus, perspective, and other artistic fundamentals, without the "benefit" of color to distract us; 3) It causes us to look more carefully at "ordinary" items and places, which we would normally ignore or overlook; and 4) It can take images out of the realm of "snapshot" and into the realm of art because of all of these reasons.
By way of example, consider my image, Powdered Cannon. Even though this image was shot with medium format professional camera, and was technically sound in terms of lighting, focus, composition, and every other critical in-camera consideration, and even though my son is a really cute little boy (yes, I said it!) in color, this image is not really more than a nice snapshot. Once, however, I stripped away the burden of seeing a mischievous boy in living (read "ordinary") color, and once I tweaked the contrast and the brightness, and filtered certain channels on the grayscale, this image took on new life. Suddenly, this is art.
Suddenly, we are comparing the subtle differences between the dark tones on Cannon's face with the ever-so-slightly lighter tones on his shirt (as filtered through a nice layer of baby powder. Suddenly, rather than being distracted by the many colors of the rug in the background and on the left of the photo, we are mesmerized by the slightly-less-focused geometric pattern that surrounds him. The same principle applies to the brown cabinet door which is rendered as a series of vertical lines, again slightly out-of-focus.
Instead of being annoyed at yet another too-cute-to-be-interesting photo of somebody's kid, we can evaluate this as a revisitation of all of our childhoods. Cannon becomes the universal child, and I can (none-too-meekly) speak of my lucky image as "art." And everybody wins...
Wednesday, December 31, 2008
Savage, Steven E., Too Many Garage Sales, West Orange, NJ, 2008
Every nail and staple represents another Garage Sale, Yard Sale, Estate Sale, Moving Sale, Rummage Sale, and... well, you get the idea. I was drawn to the grain of the pole and the roughness of the nails, tacks, and staples as they rust.
Savage, Steven E., Cannon Sulks while Mahalia Gloats, Manassas, VA, 2008
Savage, Steven E., Cannon Sulks while Mahalia Gloats, Manassas, VA, 2008
Originally uploaded by Steve Savage
Savage, Steven E., Dump Drains To #1, West Orange, NJ, 2008
I saw this on one of my walks and decided that it needed to be in black and white. Of course, these days, almost everything in my portfolio has needed to be in black and white. Guess I'm hooked, huh?
Sunday, December 28, 2008
Savage, Steven E., The Guy Walked Through My Shot, Washington, DC, 2008
I was in the National Gallery with my camera, but could not carry a tripod or my monopod. My shooting style employs slow shutter speeds and a single flash. The effect is that things that are still throughout all/most of the exposure photograph solid. Things that are only in place for part of the exposure photograph transparent or translucent. I used the concrete bench on which I sat as a camera platform, set everything on the camera and the flash, and waited until the guy who was waiting to pass in front of my camera got tired of waiting for me to finish whatever I was doing. When he passed, I hit the shutter release, the flash fired on his pants and shoes, he became embarrassed at having "ruined" my shot, and hurried out of the frame. End result: this cool effect.
Savage, Steven E., Smoke N Mirrors, Sandy Hook, NJ, 2008
This is an example of a time where I didn't have the opportunity to be meticulous about the settings on the camera. I literally had a few seconds or the image would have disappeared forever. So this image, at first glance, does not have the hallmarks of the quality I hope you have come to expect from me. But if you take a few moments to question why it is posted here among my other, more carefully crafted images, you might realize that I have captured a decisive moment, and that it belongs here. I'm open to alternative views, but it's hard to deny the humor if you realize that nothing about this photo was staged or manipulated.
Savage, Steven E., Manassas Battlefield House and Caissons, Manassas, VA, 2008
Savage, Steven E., Manassas Battlefield House and Caissons, Manassas, VA, 2008
Originally uploaded by Steve Savage
Savage, Steven E., You Rang, Manassas, VA, 2008
I enjoy this photo because Cannon seems like such a scamp and Tiah (my teenager) seems so bored. Isn't that what they're supposed to be doing at their ages? I love to set my camera on a tripod, with a wide zoom lens mounted, slow the shutter down by quite a bit (say 1/20 or slower--this was a 4-second exposure at f22), pop on the flash, and just watch my kids play. I shoot with one eye and watch with the other. I do very little coaching. I just let kids be kids.
For those who are curious, the slow shutter and flash combination renders solid anything that is still for most/all of the exposure, and renders transparent or translucent anything that is moving for part/all of the exposure. That is why his head appears solid at the chin, but clear at the top. It also explains the other faint, big, round shadow to the left of his head.
For those who are curious, the slow shutter and flash combination renders solid anything that is still for most/all of the exposure, and renders transparent or translucent anything that is moving for part/all of the exposure. That is why his head appears solid at the chin, but clear at the top. It also explains the other faint, big, round shadow to the left of his head.
Savage, Steven E., Golden Chalice #1 (BW), West Orange, NJ, 2008
This is one of a series of images that I have done emphasizing textures, and in particular, the lovely 400-year old surface of a wine table I have. The table is too old and too weak to be put to general use, and we drink wine so infrequently anyway, that this use of it seems most appropriate to me. I think the textures in this image are rich enough that they make me want to run my finger over the image. Do you agree?
Savage, Steven E., Cannon and Mommy, West Orange, NJ, 2008
When I photograph people, I always intend to leave their dignity and respect intact. Certainly, if the subject has chosen to act publicly in an undignified way, then I have no reservations about photographing their public acts without regard to dignity they themselves have disregarded voluntarily.
When I photograph my family members and friends, because these are people that I know intimately, and whom I love, I try to allow my love for them and appreciation of them to come through the lens and into the photograph. There is no magic formula for doing this. I guess, to the extent that anything specific I do makes any difference, the fact that I take many, many exposures until I am certain that I have captured a loving portrayal. Then the images which don't show that side generally never see the light of day.
I am particularly proud of this image. I hope the fact that I love Carol Cannon Savage (my wife) and Cannon Marshall Cornell Savage is abundantly clear from this image.
When I photograph my family members and friends, because these are people that I know intimately, and whom I love, I try to allow my love for them and appreciation of them to come through the lens and into the photograph. There is no magic formula for doing this. I guess, to the extent that anything specific I do makes any difference, the fact that I take many, many exposures until I am certain that I have captured a loving portrayal. Then the images which don't show that side generally never see the light of day.
I am particularly proud of this image. I hope the fact that I love Carol Cannon Savage (my wife) and Cannon Marshall Cornell Savage is abundantly clear from this image.
Savage, Steven E., Mahalia Takes a Liberty, Manassas, VA, 2008
My two youngest children, who happen to be twins, play together all day every day. So it's no surprise when Cannon and Mahalia have an argument or don't want to share a particular toy or snack. What does surprise me fairly often is the warmth and love they exhibit for each other. I was blessed to capture this photo one night when we were sitting around a hotel room.
NERDY TECHNICAL DETAILS: For those who are curious, I use a technique involving a camera-mounted flash and a really slow shutter speed. When the shutter opens, the flash fires and captures a partial image of everything it touches. The rest of the image comes from keeping the shutter open. Anything that has remained still during the entire process (or most of it) is rendered solid by the camera. Anything that has moved during most or all of the exposure is rendered transparent. That is why you can see through Mahalia's head, but not through Cannon's. The bright light in the background is the foyer of the hotel room (where the lights were on). The dark portion in the background is the walls of the hotel room itself (where the lights were off).
NERDY TECHNICAL DETAILS: For those who are curious, I use a technique involving a camera-mounted flash and a really slow shutter speed. When the shutter opens, the flash fires and captures a partial image of everything it touches. The rest of the image comes from keeping the shutter open. Anything that has remained still during the entire process (or most of it) is rendered solid by the camera. Anything that has moved during most or all of the exposure is rendered transparent. That is why you can see through Mahalia's head, but not through Cannon's. The bright light in the background is the foyer of the hotel room (where the lights were on). The dark portion in the background is the walls of the hotel room itself (where the lights were off).
I see many things which disturb me in my daily life as an attorney. Sadly, people can be outrageous and cruel. So to eke out the beauty that DOES exist here, I walk. When i walk, I find beauty. When I find beauty, I photograph it. Sometimes, I am blessed to achieve a good result when I photograph. It is those that I shall try to share here.
By the way, my kids and my family are also a great result for which I am partially responsible, so expect to see them here too... :-)
For those who care: I use primarily a Hasselblad H3D-39ii with either an 80 or a 150mm lens. I will often use the built-in flash (surprisingly effective for my work), but will resort to a Metz 76 MZ-5 handle-mount (usually bounced with the fill-flash on). I love to play with flash and really slow shutter speeds. People make that combination magical for me. I will also sometimes use my Nikon D70 with a whole host of lenses (mostly non-autofocus) and either the built-in flash or the same handle-mount previously referenced. The 18-70 Nikkor is a personal favorite, although I love to use either my 55 or 105 MicroNikkors for other than their intended purposes. I have longer lenses, but there's something quite weak (in my humble estimation) about keeping distance between myself and my subject if it is indeed possible to bully my way into a closer position. I hope this diatribe satisfies the camera weenies so we can concentrate on the actual art and avoid awkward conversations which sometimes approximate the nuclear arms race. You win, okay? ;-)
By the way, my kids and my family are also a great result for which I am partially responsible, so expect to see them here too... :-)
For those who care: I use primarily a Hasselblad H3D-39ii with either an 80 or a 150mm lens. I will often use the built-in flash (surprisingly effective for my work), but will resort to a Metz 76 MZ-5 handle-mount (usually bounced with the fill-flash on). I love to play with flash and really slow shutter speeds. People make that combination magical for me. I will also sometimes use my Nikon D70 with a whole host of lenses (mostly non-autofocus) and either the built-in flash or the same handle-mount previously referenced. The 18-70 Nikkor is a personal favorite, although I love to use either my 55 or 105 MicroNikkors for other than their intended purposes. I have longer lenses, but there's something quite weak (in my humble estimation) about keeping distance between myself and my subject if it is indeed possible to bully my way into a closer position. I hope this diatribe satisfies the camera weenies so we can concentrate on the actual art and avoid awkward conversations which sometimes approximate the nuclear arms race. You win, okay? ;-)
Savage, Steven E., On Pins and Needles #1, West Orange, NJ, 2008
This is an example of a piece coming out of nowhere. I wanted to post a new piece to Flickr, but had been working (at my job all day) and did not have time to leave my office. It dawned on me that there was a pin cushion nearby, and I have all of these great macro lenses and extension tubes. One thing led to another, and here you have it. I would love to hear your thoughts.
Savage, Steven E., South Orange Train Station #1, South Orange, NJ, 2008
Savage, Steven E., South Orange Train Station #1, South Orange, NJ, 2008
Originally uploaded by Steve Savage
Those who have commented that they don't like the composition, must not recall the Rule of Thirds or the concept of "leading lines" from high school photography class. Those who have said words to the effect of "I don't know what you're trying to say" are imposing more burden on this one photo than they do on their pictures of their friends or their cats or their Christmas trees. I took the picture because I like old train stations and those of this type are becoming endangered.
Now I could tell you that it stands for world peace. It doesn't. Or I could say that it represents Man's inhumanity to Man. It doesn't do that either. I saw some lines and shapes, and the potential for some tones, which I thought would photograph nicely and I took the picture.
My work is not everyone's cup of tea. I'm okay with that. But, for goodness sake, could we be a bit more analytical, take a few seconds more, before rushing off to the next snazzy HDR, amusement-park-ride-in-motion photo, or yet another picture of someone twirling fire? I am capable of shooting those photos. For various reasons, I choose not to.
Uploaded by Steve Savage on 18 Dec 08, 1.43AM AST.
Compose your blog entry
Title:
Your Post:
Subscribe to:
Posts (Atom)
