Dorothea Lange

 

The following quote by Francis Bacon was tacked onto Dorothea LAnge’s darkroom door in 1923, where it remained until her death in 1965 

The Contemplation of things as they are        

Without error or confusion 

Without substitution or imposture 

Is in itself a nobler thing 

Than a whole harvest of invention 

The following notes have been extracted from this book; 

Notes From :  Dorothea Lange – With a critical essay by George P Elliott – Museum of Modern Art. Second Printing 1968 

In every are glancing is an enemy of vision, but in none so much as in photography. Mass journalism has trained us to glance, and the big money photographers have made themsleves masters of the craft of the quick impression: visual elements so whimsically juxtapsoed that the effect is to jolt or tickle the viewer. 

It is the photographer’s faith that anything really seen is worth seeing. 

There are ways to get a viewer to second look at photographs which do not make a socko first impression, and the photographer can do something about some of these ways. However essential pre-condition is beyond his control: the viewer must be willing to pause, to look again, to meditate. 

On “Migrant Mother” 

This picture, like a few others of hers, like a few others of a few other photographers, leads a life of its own. That is, it is widely accepted as a work of art with its own message rather than its makers, far more people know the picture than know who made it. There is a sense in which the photographer’s apotheosis is to become as anonymous as his camera.  

What had come to matter to her most was that a photograph, perfect or not should say, “Here is what these people look like now”. 

“Vision” has religious or mystical overtones. Yet no art is less mystical, by its nature, than photography , especially referential photography 

The appearance of actual things, which comprise photography’s subject matter, are by definition superficial and often illusory or deceptive as well. 

A paradox: glancing is a foe of art, yet a person walking around in the world with a camera in his hand must see in glances. A camera shutter does not glance so much as super glance. Glancing for so short a time, it takes out of time what it sees. 

o-DOROTHEA-LANGE-BIRTHDAY-facebook

Migrant Mother – Dorothea Lange 

 

 

 

 

 

 

 

 

Advertisements

Understanding a photograph

_dsc7344

A new camera won’t improve my photography. I am under no illusions. A change from an SLR to a Rangefinder might change the way I look at something through the viewfinder. It might even change my approach to the medium but it won’t improve my photography. I’m not saying it can’t be improved upon. Absolutely not. On the contrary. I’m my own worst critic and that’s how it should be. Sometimes I look at my images and……well ? There’s a difference between want and need. I don’t need a new camera. I can manage without one. I just fancy a change, that’s all.

What might improve my photography is my continued attempts to understand the subject by reading around and within it. Books by authors whose capacity to think about things and elucidate their thoughts far better than I can. I’m currently reading Understanding a Photograph – John Berger (he died recently) –  Edited and introduced by Geoff Dyer (he wrote a good book on photography called The Ongoing Moment.

Here’s a paragraph which resonates somewhat with my own thoughts on photography being viewed as fine art and particularly with this continued assessment by those supposed photography experts who seldom get beyond discussing whether a photograph is well composed or not.

“We must rid ourselves of a confusion brought about by continually comparing  photography with the fine arts. Every handbook on photography talks about  composition. The good photograph is the well‐composed one. Yet this is true only in so  far as we think of photographic images imitating painted ones. Painting, is an art of  arrangement: therefore it is reasonable to demand that there is some kind of order in what is arranged. Every  relation between forms in a painting is to some degree adaptable to the painter’s purpose. This is not the case with photography (Unless we  include those absurd studio works in which the photographer arranges every detail of  his subject before he takes the picture). Composition in the profound, formative sense  of the word cannot enter into photography.”

understanding

Over the next few weeks I will be adding my Photography Reading List to a new page on this Blog and I’ll welcome suggestions from readers for more.