tag:blogger.com,1999:blog-41749601438189298462024-02-20T22:48:48.596+00:00Camera DreamerA philosopher interested in photographyGeoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-4174960143818929846.post-56721720076390965552020-12-29T01:37:00.019+00:002020-12-29T18:34:44.339+00:00PortraitsTo finish of the year, here are some photo portraits spanning fifty years. What is portraiture? How does it differ from any other kind of photograph of someone?
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The defining characteristic is that these are all more or less posed. The sitter contributes to the result by intentionally making an expression, or holding their body in a particular position. The sitter knew that I was waiting to click the shutter. The trick is to make the image not look like a mugshot.
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I learned a lot from my evening classes with Jorge Lewinski decades ago at the London College of Printing (now London College of Communication) when I was working as a photography assistant.
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The final two images are of the painter Emmanuel Levy, who was a student at Manchester School of Art at the same time as L.S. Lowry. Both studied under Pierre Valette. Emmanuel Levy's charcoal portait of me can be found <a href="https://zero-ram.blogspot.com/2013/08/age-20.html">here</a>.
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-78101002929025079382020-12-29T01:19:00.004+00:002020-12-29T14:24:29.306+00:00Shop windowLooking through the contact sheets for my more recent black and white photos, I realized that not a few are of shops and storefronts around Sheffield city centre. I have never previously considered this as a 'theme' but they say something about the city and the streets I have walked up and down with my point-and-shoot camera.
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For me, it means letting go of preconceptions — giving up any pretence of making 'artistic' photographs and just enjoying the process, letting random chance dictate the shapes and colours that appear in the frame.<br />
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A basic consumer-model digital camera is perfect for this, and a lot cheaper than film. There are no limits to the numbers of pictures you can take, less inhibition about pressing the shutter.<br />
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The two cameras featured are Canon SD780 (1) and Hitachi HDC-1491E (2-6).<br />
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</span>Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-88204245842939603422019-11-07T12:32:00.000+00:002019-11-08T10:36:50.846+00:00Silent SheffieldThese images of Sheffield go together with my 2015 posts <a href="https://cameradreamer.blogspot.com/2015/12/urban-landscape.html">Urban landscape</a> and <a href="https://cameradreamer.blogspot.com/2015/12/documentary-images.html">Documentary images</a>.<br />
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Why were they overlooked? The photographs are more conventionally pictorial. They don't 'say' anything. They are silent. You would hardly believe that the City of Sheffield is a bustling, thriving metropolis. There's also a sense that 'you've travelled one thousand years into the future after all human life has gone — and nothing has changed' (<a href="https://cameradreamer.blogspot.com/2018/05/photography-and-uncanny.html">Photography and the uncanny</a>).<br />
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In their muted way I find these images sad — and also disturbing.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-18456868214665059292019-11-01T10:12:00.001+00:002019-11-01T10:35:46.445+00:00Cracks in realityOr this could be called 'anomalies in the Matrix'. The earliest of these was taken in 2014. <br />
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The mundane is everywhere, it surrounds us. But even ordinary things can become objects of suspicion — the suspicion that there is 'something wrong with the world'.<br />
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Building work under a bridge, a selfie caught in the reflective roof of a coffee shop, a mother dancing with her daughter, a man putting something into the boot of his car (or taking something out?), a woman walking past graffiti, an anonymous skateboarder — moments that passed unnoticed, moments without any significance. And yet, looking at these now, I have the sense that I am seeing something that was not meant to be seen...<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-72336736850521763202019-10-26T16:57:00.002+01:002019-10-26T23:43:47.534+01:00Every picture tells a storyScouring through my black and white negatives from the last 16 months or so I found these images, which I had neglected first time around. I am getting to understand better what moves me in a photograph. I don't want to know the whole story. There has to be something left out, left to the imagination, hinted at, half hidden and half shown.<br />
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I could tell you how I came to capture these images but the information would be irrelevant, mundane. You don't need to know. Better make up your own narrative, or just leave the unanswered questions open, and let your imagination roam.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-83555105590497980432018-09-21T13:25:00.000+01:002019-10-04T10:45:53.376+01:00TransgressionsThere are photographs you take, but don't show, not because they're 'bad' for technical or aesthetic reasons, but because you've crossed a line. It could be giving away too much information about yourself (the wonderful scene in 'Three Days of the Condor' between photographer Faye Dunaway and spy-on-the-run Robert Redford when they're discussing her black and white photographs). Or it could be plain bad taste. But I'm thinking of those occasions when you stick your camera where it's not wanted...<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-gR0kVqVUIC4/W6TYVJhKlnI/AAAAAAAACXI/xZ0PeNCt2cAH8saOuMPr3sqvlm7tUA_8QCLcBGAs/s1600/Film102.Frame9-flickr.jpg" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/-gR0kVqVUIC4/W6TYVJhKlnI/AAAAAAAACXI/xZ0PeNCt2cAH8saOuMPr3sqvlm7tUA_8QCLcBGAs/s400/Film102.Frame9-flickr.jpg" width="400" height="267" data-original-width="1600" data-original-height="1067" /></a></div><br />
Taken recently, with my latest purchase from eBay, a little Fuji DL-150 80s point and shoot camera. I snapped the image in a narrow shopping alley in Sheffield, and carried on walking. Behind me I could hear female voice shouting, 'That man just took my picture!' I hurried along, not even glancing back. The woman in question, with heavily tattooed forearm and carrying two half-full Coke bottles is followed by her mother, grandson in arms. A surprised shopkeeper looks on.<br />
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A companion image to <a href="https://zero-ram.blogspot.com/2012/06/glenda.html">Glenda!</a>, this was taken in the print finishing room of Derek Ritterband Photography in 1970 where I worked briefly as a black and white 'line and tone' printer. Glenda was an ex-model turned receptionist. Dave was the young assistant (also seen in the Glenda pic).<br />
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This photograph goes with the last of the images in <a href="https://cameradreamer.blogspot.com/2017/10/the-figure-obscured.html">The figure obscured</a>, of an 'in-flight dustbin (trash can) lid'. So now you can see what caused the trouble.<br />
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Ronnie Scott's Jazz Club, Soho, London some time in the early 70s. (Note the young woman's floppy hat and clunky shoes.) Another 'shoot and run' scenario.<br />
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A blustery day in Sheffield some time in the 80s. The woman could be shielding her eyes from the bright sunshine reflecting on wet paving stones. It would be consistent to read the photograph that way, regardless of what actually happened. Does that make the image OK? <br />
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I was curious about this little photography shop and didn't notice when one of the staff appeared in the doorway. After I explained what I was doing, it seemed to be OK. 'I like your Leica,' she said, commenting on my plastic camera.<br />
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This photograph belongs with the set <a href="http://cameradreamer.net/photos3/index.html">Sheffield Lanes</a>. Snapped in the main shopping street in Sheffield around Christmas time, this fur-coated shopper is clearly not used to mixing with the hoi polloi.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-18588701657765209012018-05-31T10:29:00.000+01:002018-09-26T11:06:58.943+01:00Photography and the uncannyThis is no mere faint shudder or tremor, or a momentary shadow crossing your mind. I'm talking about the feeling you get when an invisible hand grabs hold of your guts and twists them. Or when you sense that you are falling, faster and faster, and everything around you becomes a blur.<br />
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When Death smiles at you...<br />
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Helpful lady at the Sheffield Google pop-up website advice centre. It was Halloween so she let me take a photo of her in her mask...<br />
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Just a telephone kiosk, except that you've travelled one thousand years into the future after all human life has gone — and nothing has changed...<br />
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In <em>Starting Point: An Introduction to the Dialectic of Existence</em> Robert Denoon Cumming devotes a section to the 'wiggling bottom'. This one didn't wiggle at all...<br />
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Two seconds after I snatched this photo, the infant flopped out of its mother's arms onto the paving stones of Sheffield's Peace Gardens. — I hope not.<br />
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A tableau/ shrine constructed around an old newspaper cutting — and another image of death. I don't know whether the addition of a teddy bear was intentional or not, but that's the element that gives your guts a twist.<br />
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You probably won't get this. It doesn't matter because I get it. It's what I'm after.<br />
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I read somewhere that all photographs are uncanny. It's their irreducible, recalcitrant contingency. The difference is that contingency is what these photographs <em>say</em> as well as <em>show</em>.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-60826989353691084012017-10-27T22:41:00.005+01:002018-09-22T11:47:26.874+01:00Figures in sunlight<br />
Today was sunny. And the postman brought me a new camera — an Olympus Mju (Stylus) Zoom 140 which I found on eBay. I thought I'd try it out around Sheffield City Centre.<br />
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In these images, there is minimal 'human interest'. Of course, there will always be some. But it is a question of balance. Faces are obscured or hidden, not out of some false notion of modesty or decorum but because <i>who these figures are</i> is the least important thing.<br />
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One could argue that obscuring the human face merely forces the viewer to <i>look harder</i>, subverting my original intention. But the point has been made. Look as hard as you like. You won't see anything more than what the camera saw, what is actually engraved in the image.<br />
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Cameras aren't interested in people. Only people are. The human eye looks for a face. A camera lens sees whatever you point it at.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-32148204696188562302017-10-21T11:41:00.002+01:002018-09-22T12:07:00.867+01:00The figure obscuredDeliberately hiding or obscuring the figure would be one way to combat the 'conceited notion' that 'human beings are ultimately the only subjects worth photographing' (<a href="http://klempner.freeshell.org/articles/photograph.html">Metaphysics of the Photograph</a>):<br />
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All but the last image were taken recently. It is not immediately obvious, but the oval object in the middle of the frame is an in-flight dustbin (trash can) lid.<br />
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I could not have put the point better myself.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-13720738334564421422017-10-19T18:52:00.001+01:002018-09-22T12:01:49.656+01:00Urban sculptures<br />
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A new object of interest and a possible project.<br />
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A parking stop-go sign, a ventilator, a steel refuse bin, a concrete bench, a metal plant pot — found on the streets of Sheffield, each of these urban sculptures was designed with a specific function in mind, but also intentionally with a certain aesthetic.<br />
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The surrounding context or the passage of time have subtly altered the way these objects look, whether to a casual passerby or to the curious eye of the photographer. They have become something other than what they were intended to be. Something more.<br />
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I am moved. Sufficiently to make a permanent record. If I were to look, really look, how many more of these would I find?<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-53440935941203184632016-06-25T13:37:00.001+01:002016-06-25T17:37:46.624+01:00Human interest<blockquote><br />
<b>"... you can take refuge in the belief that human beings are ultimately the only subjects worth photographing. The 'Family of Man'. I think you already know what I'm going to say about that conceited notion. Today, we are assaulted on every side by photographs of people. They leer at us from newsstands and advertising hoardings. We have become obsessed by the visual appearance of the body and the face. Portrait and figure photography is picture taking at its most pathological.<br />
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"The inescapable fact is that the world <i>is</i> a human world. The human being is in every photograph you take, whether you actually <i>see</i> a human being there or not, just because the photograph was taken by a human being. But that is not news. The common factor, factors out." (<a href="http://klempner.freeshell.org/articles/photograph.html">Metaphysics of the Photograph</a>)<br />
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What if, occasionally, a human being walks — or runs — into the frame? Is that no longer allowed by our strict aesthetic? (This was never intended to be an 'aesthetics of photography' but never mind!)<br />
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It makes no difference. That's the point. Let them appear. Let the figures do their little dance. The <i>human</i> is there, in the frame, whether any human being is visible or not.<br />
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The pictures I <i>used</i> to take — decades ago — had genuine human interest. That is to say, that was their point. Things have moved on since then.<br />
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(I tried some classic 'news photography' recently at a Veterans day in Sheffield but none of the images move me even though it was competently done.)<br />
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I'm not interested in who these people are, or what they are thinking or feeling. (There's a funny story about the fifth image. A security guard was politely telling me off for taking photos of a government building — he didn't notice that I'd continued shooting.)<br />
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Then, why? <br />
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The thought came to me: these people are <i>unwittingly co-operating</i> in the process of making a picture, inserting themselves in just the right place in the frame. It's one of the photographer's conceits or tropes (which doesn't make it a cliché). The only difference is that I am making a <i>point</i> of it.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-62317898883117356662016-06-24T18:31:00.000+01:002016-06-28T10:18:53.257+01:00Vanishing point<br />
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A rule of thumb I've generally followed in using a wide-angle lens is 'avoid perspective effects'. Use the properties of the lens to create a sense of depth in the image, but don't allow perspective to become the dominant feature.<br />
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Looking through my old contacts, I found one series of images from over two decades ago where I deliberately positioned the vanishing point at the centre of the frame. One of these images is included in my post <a href="http://cameradreamer.blogspot.co.uk/2016/06/lure-of-simplicity.html">Lure of simplicity</a>. The last image in the set, it was made with a Pentax Spotmatic with 28mm lens on Abbeydale Road South, Sheffield, at Millhouses Park.<br />
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The photograph of the bus stop on this page was made on the same day. I'm guessing that I (inconsistently) allowed a bread van into the otherwise empty picture because I wanted to capture a dog that had wandered into the centre of the viewfinder.<br />
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I found myself moved by these strange evocations of of a lonely walk down empty Sheffield streets — and at the same time slightly irritated by the cheesiness of the idea. It was an experiment that I tried only once. When you've seen one perspective image you've seen 'em all. There's nothing subtle or hidden, nothing to interpret. The wide-angle lens does all the work.<br />
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Why not try again just once — for old times sake? This time the camera of choice was a mid-80's point-and-shoot Ricoh FF-3AF (a Leica Mini 3 for the last but one shot). My predominant feeling is no longer irritation. I can see now the dreamlike quality that (I think) I was aiming for. The fact that the compositional structure is the same in each case calls attention to the contrasting details of each image. There's a sense of mystery. Where does this lead? what's behind that door, or wall?<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-18959566344330899362016-06-23T17:48:00.002+01:002016-06-23T19:15:56.567+01:00Alphaville<br />
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Jean-Luc Goddard's sci-fi movie 'Alphaville' (1965) is an enduring memory from my early teens. My parents took me to see the film at the Academy Cinema, Oxford Street London when I was just 14. Rewatching it now in my attic study surrounded by computers, the movie seems astonishingly prophetic. Today, computers run every detail of our lives. Soon they will rule us.<br />
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Filming around the streets of Paris, Goddard conjures up a bizarre alternative world made out of the familiar glass and chome steel of contemporary architecture. Human beings have lost their free will. Ace detective Lemmie Caution played by the legendary tough guy actor Eddie Constantine arrives in his 'Ford Galaxy' space ship to fight back against the machine, aided by a beautiful unworldly Anna Karina playing the daughter of the evil scientist responsible.<br />
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All photographs shot in Sheffield City Centre. In 40 years architects have not lost their taste for steel, glass and concrete.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-24005236917441645812016-06-12T15:16:00.004+01:002016-06-12T15:20:45.599+01:00Lure of simplicity<br />
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The opposite vice to taking refuge in complexity: the craving for simplicity — simple compositions, bold tones, a world reduced to intelligible order. Yet there is twist. Something is 'wrong' with these images, something doesn't quite add up. The surreal.<br />
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Over two decades separate the first and second set of four images — the first taken less than a week ago. The continuity is apparent.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-89127669550077387822015-12-25T11:31:00.001+00:002016-01-20T12:47:58.696+00:00Urban landscape<br />
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After more than four decades I can finally say what it is that I do — what I'm after. The answer is very simple. It's not difficult to grasp.<br />
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My Xmas present to myself was a Cosina 28-50mm zoom lens. Narrow range. Should be sharp. Perfect for this kind of work.<br />
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All the time I was thrashing about, trying and failing to find the elusive image, I was quietly taking these. Documenting my environment. Whether or not (by chance) there are human beings in the frame, there is always one person there: the one behind the camera. It's implied.<br />
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This is a landscape of the human psyche.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-69210066898571765922015-12-22T20:17:00.000+00:002015-12-22T21:09:45.429+00:00Documentary images<br />
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A 'new' old idea. Photographs that document. Not in the way of photojournalism because the subject matter seems hardly worthy of note. <br />
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I am not making a statement, not being 'creative', just <i>seeing</i> what is there. Something that catches my interest for reasons that I am perhaps not even able to articulate.<br />
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That feeling when...<br />
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Each of these images gave me that feeling. Not in a big way, more a momentary 'ah!' of recognition. These images are everywhere and yet it takes a special effort to see them, to be 'caught' — in that way.<br />
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I don't know what more to say. I have been trying too hard to be 'creative' — trying to make something out of nothing using the hocus pocus of camera technique — when what I should be doing is attending to what is <i>out there</i>, the thing whatever it is that gives me 'that feeling when'.<br />
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My resolution for 2016.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-84198487255496856102014-10-30T09:44:00.001+00:002014-11-27T20:46:27.633+00:00Millennium Gallery SheffieldI liked the look of the white walls and semi-reflective surfaces, so I shot half a roll of 35mm film. The result — a mini 'photo series'.<br />
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I don't have a lot a lot to say about these. There is a glimmer of the <a href="http://metaphysicaljournal.blogspot.com/2014/10/the-silver-world.html" target="new">silver world</a> I have been searching for. An alternate reality.<br />
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There's a kind of Escher visual paradox in the first image, where the man on the right appears to be merging into the wall (in fact, it is the merged images of two people, one of them reflected).<br />
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The fourth image (the 'selfie') is in focus, if you look closely. Probably not apparent in the photograph is the fact that the image is reversed. (A clue is that I am holding my camera, a Leica Mini 3 point-and-shoot, in my right hand.)<br />
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The negative was causing Newton's rings in the film scanner so I had to reverse the film in the negative carrier, keeping the shiny side away from the lamp. I originally intended to reverse the image back in Photoshop but, somehow, this looks better as it is. The viewer is looking 'out' from the semi-reflective surface.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-8378487066228615312014-10-28T19:15:00.004+00:002014-10-28T20:41:33.483+00:00Jig-saw piecesToday, in <a href="http://metaphysicaljournal.blogspot.com/2014/10/metaphysics-and-dialogue.html" target="new">Metaphysical Journal</a>, I wrote:<br />
<blockquote><b>I want to understand.<br />
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That is why I am here. To puzzle it out, put the pieces together.<br />
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Puzzle out myself.<br />
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Puzzle out reality.<br />
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— The metaphysician in me, I suppose.<br />
</b></blockquote>The penny dropped five minutes or less after I clicked 'Post'.<br />
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<i>Photographs</i> are the jig-saw pieces:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Nmr4x7JHc5w/VE_n-s0tuvI/AAAAAAAABAA/KuQ04qU3lf4/s1600/Film55.Frame13-flickr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Nmr4x7JHc5w/VE_n-s0tuvI/AAAAAAAABAA/KuQ04qU3lf4/s400/Film55.Frame13-flickr.jpg" /></a></div><br />
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I see now how this can become an all-consuming obsession (as it was for Gary Winogrand, but he's just one of many 'great', i.e. obsessed, committed, photographers).<br />
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Putting photographs together cannot solve any problem, not literally. Maybe, at some level, as 'art' (which I deprecated in <a href="http://klempner.freeshell.org/articles/photograph.html" target="new">Metaphysics of the Photograph</a>) photographs in sequence can 'show' something that an individual image cannot.<br />
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I agree, in principle, that you judge a photographer by a body of work, rather than individual works, that individual images are not <i>meant</i>, intended to make whatever statement they make in isolation, in the way that a painting — say, by Picasso, or Jackson Pollock — can do. You can write an essay on Pollock, concentrating on just one image. You can't do that with a photograph. (Well, you can, but it would be false, contrived.)<br />
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But there's more.<br />
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This is where things get philosophical. Richard Wollheim in his book <i>F.H. Bradley</i> comments that the metaphysical impulse towards 'putting things together' has a Kleinian explanation: restoring 'whole objects', reacting to the split between good/ bad objects, the child's fear of his/ her destructive impulses.<br />
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'Puzzle out reality' is what I tried to do, in different, but then again not so different ways, as a would-be metaphysician and as a photographer.<br />
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How can photographs do this? I'm not entirely sure. Why did I select the three, above? Because they 'said' something other than the merely literal. They have the required <i>ambiguity</i>, which is at the same time a potential capacity for meaning.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-34518392557804546102014-10-27T10:06:00.001+00:002015-09-20T23:27:41.416+01:00Saatchi ArtAlthough in many ways this is <i>way</i> too early, I started an account at <a href="http://saatchiart.com/gklempner" target="new">Saatchi Art</a> and posted three images there:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-KpbE67x6DEM/VE4TL-obe1I/AAAAAAAAA_Y/nY5k8HbyVw8/s1600/Film46.Frame23-flickr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-KpbE67x6DEM/VE4TL-obe1I/AAAAAAAAA_Y/nY5k8HbyVw8/s400/Film46.Frame23-flickr.jpg" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/--YZK7CWvy-Q/VE4TezWmBVI/AAAAAAAAA_g/zoHUjK6a8c4/s1600/Old.Film190.Frame2-flickr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/--YZK7CWvy-Q/VE4TezWmBVI/AAAAAAAAA_g/zoHUjK6a8c4/s400/Old.Film190.Frame2-flickr.jpg" /></a></div><br />
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You can order prints from <a href="http://saatchiart.com/gklempner" target="new">Saatchi Art</a>, the cheapest is $99. Saatchi take just 30% of the profit from sales of prints, and the artist gets 70%. This is the same ratio as their sales of original works by artists registered with them. The only difference is that, when Saatchi make the prints, they deduct the cost of production, postage, etc.<br />
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However, the files I uploaded are identical to those posted on <a href="http://flickr.com/gklempner" target="new">Flickr</a>, so you can print them yourself for free. (You will need a good A3 inkjet printer, a Canon or an Epson. I don't own one.)<br />
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If it is 'way too early', why do it? What's the idea?<br />
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It was an interesting exercise to see which images I would choose, if I had to make the choice. Which images are worthy of being hung up on a wall above the sofa, or TV, or dining table. By my lights, of course.<br />
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One of these, 'Flood Alert' also appears in my <a href="http://metaphysicaljournal.blogspot.com" target="new">Metaphysical Journal</a> post on <a href="http://metaphysicaljournal.blogspot.com/2014/10/philosophy-and-photography.html" target="new">Philosophy and photography</a>. Here's the explanation I gave:<br />
<blockquote><b>There is a flood. But not here, the road is dry. Where, then? The empty bus: is it speeding towards the flood, or away from it? And those trees, or tree trunks. Photographs of trees are one of the staples of photographic 'art' — pictorialism, the celebration of 'nature'. But, here, the trees seem to have a different meaning. More sinister. Was the flood caused by nature, perhaps a heavy rain storm, or a burst water main? Either way, floods are something to fear. But these trees will not be affected in any way. They will stand by, immobile, while human beings flounder and drown.</b></blockquote>Note that this isn't an explanation/ justification for why I think it is a 'good' picture, but rather why (I claim) it 'says something' — in the way that a photograph (or the kind of photograph I look for) should do.<br />
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A similar story could be told about the other two images. I leave it to the reader's imagination. What is being 'said' is not said literally, so there are multiple stories you can tell. That's what the image invites. That's what gives it depth and meaning.<br />
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In an earlier post on <a href="http://metaphysicaljournal.blogspot.com" target="new">Metaphysical Journal</a>, I spoke about my search for <a href="http://metaphysicaljournal.blogspot.com/2014/10/the-silver-world.html" target="new">the silver world</a>.<br />
<blockquote><b>Every now and then, I catch a glipse of a silver world, out of the corner of my eye. When I look directly, it is gone. Sometimes my camera 'sees' before I do.</b></blockquote>Not all photographs that 'say something' (in the way I would approve) depict the 'silver world', only some. So there's a conundrum.<br />
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It is too early. I am still not clear <i>what it is I am trying to do</i>. The only way I can get clear is by taking more photographs — lots more — and doing this.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-65134098302530250052014-10-10T16:19:00.001+01:002017-06-27T10:56:24.341+01:00Old and new<i>What am I after?</i><br />
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When I look at old contact sheets, going back 10 years, 20 years, 30 years, 40 years I see the same struggle, the same uncertainty. As contact sheets, they are undistinguished. And yet, every so often, a notable image appears, seemingly by accident.<br />
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You can only go so long without pressing the button. More often than not, at the very moment when you press, you know that this is nothing special. Hardly worth the film. So why bother? Because the alternative is freezing up. You have to keep moving, keep shooting.<br />
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Gary Winogrand left over 100,000 negatives. They weren't all great!<br />
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Yesterday, I used up a roll of Tri-X and came away with two images I liked:<br />
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Just two of the many, myriad ways you can represent the human world without merely reporting on it. I could write a a few paragraphs explaining why I like these, but the purpose of this blog isn't to critique my own work — rather, to chart my progress and every so often hazard a guess where this might he heading.<br />
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Here, just for comparison, are two images from negatives exposed over 30 years ago. They could have been taken yesterday:<br />
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The second image would go well with the photographs I selected for my post on the <a href="http://metaphysicaljournal.blogspot.co.uk/2014/10/the-silver-world.html" target="new">The silver world</a>. I wish I could find more of these.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-37868567207858972282014-09-29T09:44:00.001+01:002015-12-25T12:43:26.422+00:00MandalaOne of the things you do as a photographer — you stare.<br />
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You stare at a single point until you feel yourself beginning to disintegrate and disappear.<br />
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'The self of solipsism shrinks to a point of no extension, and there remains the reality co-ordinated with it' (Wittgenstein <i>Tractatus</i>).<br />
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Maybe I was subliminally influenced by horror movies like 'The Ring' (2002) and 'Kill List' (2011). An image can have a healing effect. Like a mandala. It can also be toxic — even life threatening — in the hypnotic spell that it casts upon the viewer.<br />
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Why look for these images? What's the point? I am not looking for them. They catch me unawares. They pull me in.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-11193374530225787502014-09-26T11:00:00.005+01:002018-09-22T13:14:13.466+01:00Point and shootI am trying to see where this is going. It's what photographers do. You stare at your images, trying to see a pattern — or a point.<br />
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For me, it's about the <a href="https://klempner.freeshell.org/articles/photograph.html" target="new">Metaphysics of the Photograph</a>, uncovering <i>something</i> hidden amongst ordinary appearances — but what? An appearance. Just like the others, and yet different, somehow. Something ordinary which acquires the attributes of the extraordinary.<br />
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Like Edward Weston's peppers. Except — as I noted in my talk — Weston is looking for, commenting upon, visual beauty whereas I am not. For me, it is more about making ordinary objects <i>speak</i>, giving them a voice. Human beings are just part of the landscape. It is the background, the context, that 'speaks'.<br />
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Taking a cue from the Lomography crowd, I've gravitated towards plastic 'point and shoot' cameras. It is easier to pass through the human landscape unnoticed. Every one is waving around an iPhone these days, taking 'selfies' or images of their latest purchase to upload on Facebook.<br />
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You can photograph anything that moves — or that stays still. My new philosophy. Don't think too hard about it. But then again, <i>do</i> take care. But quickly. Focusing takes too long, so autofocus takes care of that. Ditto light meter reading. An electric winder takes away the last bit of effort. Keep your finger poised over the shutter release. The only thing that matters is the frame. And you must <i>look</i>.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-uYKXOUnO904/VCU4JlxstRI/AAAAAAAAA5o/slEYBAcusls/s1600/Film40.Frame18-flickr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-uYKXOUnO904/VCU4JlxstRI/AAAAAAAAA5o/slEYBAcusls/s400/Film40.Frame18-flickr.jpg" /></a></div><br />
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The last image disturbs me. Maybe a plastic cam gives the photographer too much power. The woman (she looks Vietnamese) was preoccupied with a misbehaving child, who doesn't appear in the photograph. I don't think she even noticed that I'd taken the shot (from the chest — no time to raise the camera to the eye). But it <i>looks</i> as if something is threatening her. The viewer is reminded of war photographs from the 60s/70s.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com0tag:blogger.com,1999:blog-4174960143818929846.post-76968402836446766472013-12-20T16:54:00.000+00:002013-12-21T00:44:37.184+00:00GardeningAfter months of painful neglect, the back garden was finally cleared, thanks to Scott from <a href="http://www.greenleafgroundsmaintenance.co.uk" target="new">Greenleaf</a>. I told Scott I liked the garden to be kept in its 'natural state' and not to move any of the various discarded items he found lying around, pots of dead plants, broken chairs, cooking utensils, etc. — You did a great job, Scott, thanks!<br />
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This blog isn't for technical stuff about photography, but as it happens I'd never done a <a href="http://en.wikipedia.org/wiki/Stand_development" target="new">stand development</a> and wanted to try it out. There was some film in my old Rank Aldis Rangefinder, so I just went round the garden quickly, shooting anything that caught my eye.<br />
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Gloomy mid-afternoon. The light meter said f2.8 at 60th at ASA 800 but contrast was flat so I thought it was safe to go down to f4 (ASA 1600). Then the film was stand developed for 70 minutes in Rodinal R09 2.5ml + 250ml in a steel tank. Theory is that the relatively small amount of developer gets completely exhausted developing the highlights so it starts working on bringing out the shadow detail.<br />
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The result was decent, negs thin but well detailed. I've read that you need at least 6ml of developer, or even 10ml per film, which would require a 1000ml tank. That's complete rubbish. The <a href="http://unblinkingeye.com/Articles/Developers/Times_Rodinal/Rodinal.pdf" target="new">Agfa Rodinal data sheet</a> says 'minimum 2.5ml per film' which is good enough for me.<br />
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For the second image (garden bench) I stopped down to f5.6 at 30th to get a bit more depth of field, which is about the slowest I can risk without camera shake.<br />
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Job done.<br />
Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com1tag:blogger.com,1999:blog-4174960143818929846.post-82821529699568838512013-12-07T12:02:00.001+00:002013-12-07T12:13:41.622+00:00Minimalism/ symbolismI'm not sure about these...<br />
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Miniature clay head, unknown provenance</div><br />
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Beach at Bridlington, East Yorkshire</div><br />
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Or these...<br />
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Asline Road, nr Bramall Lane, Sheffield</div><br />
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Heeley Retail Park, Chesterfield Road, Sheffield</div><br />
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As Andre Kertesz says, you've got to keep looking for something different, don't take a shot just because it resembles images you've shot before. Don't lose your photographer's eye.<br />
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I won't make any judgements. I saw something I 'liked', and these are the record. On to the next.<br />
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Geoffrey Klempnerhttp://www.blogger.com/profile/07426015508796438784noreply@blogger.com2