An unusual question for all of you??

This question is not about cameras, lenses, packs, darkroom

gear, nor processing photographic materials. It is not about the

mechanics of photography, but rather its application. It is about

the application of large format photography in the field. In fact I

have only found one book that even touches on this subject.

<p>

Every year I head for the mountains of Colorado at tree line or

above. I expend a great deal of money and time executing these

photographic expeditions. There is food, film, shelter, clothing,

fuel, and tons of camera equipment. To get everything back into

remote places I use a llama. Hershey carries about 100 pounds

and I carry around 60 pounds for a total of 160 of gear for 5 days.

I may take 5 or 6 of these trips each season.

<p>

These expeditions are very serious efforts at practicing my art.

It has become a goal of mine to extract 1 to 6 exhibition images

per day while on each trip. This is no small feat and I often find

my self working from 3 AM to 10 PM every day. It is exhausting,

but it is also mentally exhilarating.

<p>

My to question to you is what methods, strategies, and

techniques do you employ in the field to insure success? To

increase your productivity? To generate lots of exquisite

images? Are there special films that allow you to shoots under

more varied lighting conditions? Are there classifications of

compositions you use to help identify possible images? Do you

classify light such as �holy light� or �dynamic light� to help you in

your quest to find an inspirational image? How do you stay fresh

and stave off exhaustion so that you �see� what really lies in front

of you? The questions are varied and many, but they all aim at

plucking forbidden images from the land, 1 to 6 per day. No

small feat, indeed.

The first thing I do is try to get rid of what commercial work pushes

on me... The knowledge that I HAVE to get an image.

I can go & never shoot a thing if nothing jumps out at me and nothing

tickles the keys of creativity. At other times I can shoot more than

50 sheets a day. Getting past the idea of having to produce and

letting the light, the land & the surroundings work with how I feel

at the time results in better images for me.

When I stop & take a second look it us usually because something

caught the creative spirit inside. Not necessarily what I see

initially, but something in the background or something I need to

look closer to see. Taking that first impression often covers up what

it was that I saw and I end up with a nice photo but not what the

deeper look would have produced. Being willing to set up, explore the

world through the lens while under the darkcloth & take the whole

thing down & walk on gives better results than shooting every time.

Oftimes there isn't anything that works well or I don't get past the

initial look and at other times I am able to work past the 'standard

nice photo' stage. I look back often as it can be a lot better than

what 'lies in front of me'. Frequent breaks, just listening to the

land helps a lot.

Sounds like you have the most important part already figured out.

While I can't imagine why one guy would need 160 lbs. of gear to

travel five days in the backcountry, you're already making the

commitment to be out there, and that's what so many aspiring photogs

have the hardest time with. My thoughts on the rest might sound

rather simplistic, but there's no substitute for being "in the

groove." You're in the elements, ready for the sweet light. The more

you put yourself in position to capture those fleeting moments, the

more prolific you will be at bringing them home. Personally, I'd stay

away from pronouncements like "1 to 6 exhibition images per day." Go

with the flow. Dewitt Jones once said (paraphrasing here), "If you go

out one day to shoot reflections, and Mother Nature's doing trees

that day, then by golly you'd better do trees." And if you consider a

long trek in the mountains with very few photos to show for it a bad

day, remember my own motto: A bad day in the mountains is better than

a good day most anyplace else!

I have learned two key "rules" that i follow that has helped my

making great images in the last few years. First, I read in an essay

somewhere (maybe someone recognizes this and can name the author)

that sometimes the best photographs are the ones we don't take. I

have taken that to mean it is easy to become obsessed with seeing the

world through the lens of a camera and capturing it on film and not

just appreciating the miracle of the world around us. I don't think

it helps my "production", but I have found that it helps to leave the

cameras at home once in a while and just "be there" taking everything

in: the sounds, the breezes, the feel of a place, not just what I see

on the ground glass.

<p>

Second, I became a much happier phtographer when I learned to accept

what is given me for weather, quality of light, subject matter, etc.

Instead of always looking for the perfect conditions I am learning to

pursue the perfect negative for any condition that is presented.

Things are much more interesting and challenging if you drive 12

hours wake up the next morning and the clear weather that was

predicted has turned into a misty, foggy morning in the mountains.

There are exquisite images to be had, but you need to recognize them

and the technical adjustments to capture them. That comes with

experience and that is where I am now, learning how to make great

images in not so great conditions.

<p>

Hope this provides some insight.

I feel the self imposed quota of productivity can only lead to

disappointment in the end. An artist is not a machine. When he or she

attempts to become one, they turn into Thomas Kincade (Check out that

thread for a few laughs). I agree wholehaertedly with the poster that

suggests learning how to make lemonade when faced with lemons is the

important thing. I almost never bring back the images I imagine I will

get and that from trips to places I've been to again and again. There

are times when we all get creative dry heaves and can't produce a thing

worthwhile. I know a guy who insists he never takes a bad photograph

and I've witnessed the quality of his output go steadily downhill.

Yet, people still clamour for his work and that demand seems to be more

the driving force behind what he creates than any desire to get better

at his craft. On one hand, I'm envious of someone with so much energy

as yourself and the resources to make so many forays to what sounds

like such a wonderful place with a beast willing to carry most of the

load. On the other hand, had I those resources and time to use them,

the last thing I'd want to do is impose some quota on what I MUST bring

back from each trip. You can't force art! Art just happens sometimes

and other times it doesn't. There is always an element of chance. You

increase that chance by learning your craft well. When opportunity and

preparedness intersect is when art happens.

You have gotten alot of excellent opinions here and what I want to say

is that it seems like your putting alot of unnecessary pressure on

yourself. Let the day flow. You cannot change mother nature and just

remember, your the one out in the back country where most others

wouldn't venture. Take a look at your work with the thought in mind "we

are our worst enemy" and ease up. If you are technically on, rule of

thirds for composition, perfect exposure, magic hour light and all

that... get yourself a Holga camera and loosen up, shoot from the hip

without using the viewfinder! I'm a "technical" commercial shooter and

a few colleagues where after me to loosen up. One gave me a Holga and

said to try it. I said something like... "a plastic camera with a

plastic lens and you even have to tape the foolish thing up to get rid

of some of the light leaks, your nuts..." After the first roll of film

to find out what this cheap little thing could do, I started to have

alot more fun and the creative juices flowed more and I really got ALOT

of great images not only with my large format but the little Holga. In

the end, I was purely amazed what a little $20. crap camera did for my

visions and my way of shooting. Don't get me wrong, at work I'm still a

technical shooter because I have to be but I'm alot more relaxed about

it and that helps alot.

Stephen,

I agree with Robert. The notion of counting the number of "keepers"

per day is, frankly, appalling. However, I can completely relate to

your desire to maximize the time for photography and use it in an

intense way. One's best work often arises from extreme intensity in

short spurts such as you describe. As Bob Krist says (in the context

of travel and scenic photography), 90% of it is access, and you have

that part down.

<p>

Nevertheless, let me suggest that if you want to spend more time

photographing, perhaps it would be salutary to look closer to home. I,

too, love the treeless vistas and for a time I longed to go to

Antarctica to photograph. I applied for a grant to go there, but was

rejected. So I decided to make fictional polar landscapes close to

home, in Philadelphia, New Jersey, and New England. These pictures

("Imagining Antarctica") turned out to be some of my best work and

helped me and my audience see our local surroundings in a fresh way.

"The more you put yourself in position to capture those fleeting

moments, the more prolific you will be at bringing them home."

<p>

Well-said. Also, leave some photographs for next time. Our

compunction is to capture as much as possible-"you'll be back" and if

we aren't, some things are left for memory and will influence our

future actions/choices/images. You are already a success for your

journey is as interesting as the destination.

You've gotten some excellent responses, and I'll just add a couple thoughts. The biggest impediment to my work is my 25+ years of

commercial photo/illustration work and the ingrained habits of 'production' and deadline. The worst thing about commercial work

is that you often don't make the best possible picture because you *must* make enough very good ones for publication. Don't

artificially put the same negative pressure on your creative work by insisting on x number of "exhibition images". Anyway, for my

own purposes, the very concept of Exhibition Image would be destructive because it implies I already know what the picture should

look like. I don't go out and photograph to make pictures I already know, I go out to find, learn, and express new things I've not yet

encountered.

Because it's way too much weight. If you carried 160 pounds, then

you'd find things closer to photograph. Trust me.

First, I read in an essay somewhere (maybe someone recognizes this and

can name the author) that sometimes the best photographs are the ones

we don't take.

<p>

James this has been said by Mr Andere Kertesz, although not to me

personally...

For me those days when I'm FINALLY in the right place at the right

time with the camera and nothing else to do but take photos are both

rare and exhilirating. Those are the days I keep going for. The last

thing I would do is spoil that rare freedom by putting quota's on

myself. That's what I'm escaping from. Finally just getting to the

pretty places is the cake. Bringing back a pic or two is the icing.

Sometimes the cake is all you need. I know everyone works differenly,

and you perhaps have to consider the large investment and effort more

than I might. My wife is wishing for a Christmas tree so I'm going

into the hills with a chain saw, and the Deardorff. I've got a new to

me 21cm Heliar that I want to try on something. I tend to steal the

best pictures. F8 and be there works for this stuff too. What if you

wake up some day and realize "all the stuff I did when I was pushing

too hard is no good because I was pushing too hard"....and you have to

start over? You wouldn't be the first.

I've concluded that my greatest impediment to picture taking is

myself. For example, I've been working in a spot recently. The first

few times there, I saw pictures everywhere. After some time, I saw

the same pictures I'd made again and again. My mind refused to let me

be open to a new experience of the place. I would go there (and don't

ask me how I know this, but I know I have more pictures to make

there) but I would end up at the same viewpoints again. The human

mind is a funny thing - memory comes elbowing its way in

saying, "Here, I know how to make sense of this - let me show you."

And I think putting pressure on oneself only makes it worse because

now your mind is even more furiously trying to make sense of things

for you.

<p>

As the Zen saying goes, "In order to pour tea into a teacup, you need

to empty the teacup first." Or something to that effect. Getting

myself to shut up and listen is hard but I think there are ways to do

it. Just walking around and observing and feeling, I think are key. I

notice that my really satisfying photographs involve an experience

first, and then a slow realization that I should photograph it. And

to have an experience, one needs to empty one's mind first. No

judgments, no pre-conceptions, but just looking and being open. I

know it sounds metaphysical but actually I think the experience is

almost a bodily response rather than some abstract kind of thing.

<p>

Cheers, DJ.

my personal approach is to set a goal of getting ONE good photo in a

six day trip. if i get two, it's a miracle. if i never take my

camera out of my pack for the whole six days, that's fine too; my 4x5

has made many trips with me without ever leaving my pack.

<p>

~chris jordan (Seattle)

<p>

www.chrisjordanphoto.com

What an interesting bunch of responses. I'm Just sitting in ....

-jeff buckels (albuquerque)

Stephen,

<p>

You've already gotten a lot of great responses about not trying to force the images by using a self-imposed quota. Great advice by all. I can't think of anything to add there that hasn't already be stated eloquently by others.

<p>

However, one area I would like to comment on is the amount of weight you're carrying. 160 lbs.!!!!! Man, I couldn't come up with 160 lbs. of gear if I took everything I owned - twice! The heaviest pack I've ever carried was a little over 70 lbs. and for last several years, I've gotten my pack weight down to 45 - 50 lbs. for a typical 4 - 6 day trip. That includes all my food, clothing, tent, camping equipment AND a complete large format system with four lenses and 80 sheets of film. And, I often travel solo, so I must carry everything I need - no sharing the load with other campers.

<p>

One of the reasons I go into the backcountry is to get away from "civilization" and get more in touch with nature. I know it sounds cliche', but it's true. The less of civilization I carry with me into the backcountry, the less there is between me and nature.

<p>

It is also very liberating to not be burdened with a ton of heavy gear. I can cover more ground in less time and still end up with more energy left for photography. Once I get to my chosen campsite, I drop the heavy pack and set-off to do some exploring with a light daypack with the camera gear in it. The total weight of this daypack, including one box of Readyloads, a full water bottle, a light jacket and a snack is about 10 - 12 lbs. (and I also carry my 3 lb. 5 oz. tripod/head in my hand). This feels lighter than air after hauling a heavy pack all day. It let's me scamble around and actually enjoy myself without the burden of a ton of heavy gear. And, I don't find my ultralight 4x5 system to be too limiting in any way. After all, it's not what's one the tripod that's important, it's what's in front of it, and to a much greater degree, what's standing behind it. More gear doesn't ncessarily make a better photographer, but certainly a more weary one after a day on the trail.

<p>

I'm not advocating a reckless disregard for your personal safety by leaving behind essential survival gear. I still carry my first aid kit, appropriate food, clothing and shelter in case the weather turns nasty. We all have different preferences and different opinions of what constitutes an enjoyable backcountry experience, but you might want to at least try going lightweight one time to see how you like it. If not, you can always go back to your heavier set-up. Or, think of it this way... if you can get your total weight down to "only" 100 lbs. the llama can carry everything and you'll be free to walk about completely unburdened.

<p>

Kerry

Stephen,

<p>

I agree completely with all of the above responses. Art and

Production or art are very different things. Vincent Van Gough (sp?),

for all of his great talent, produced fewer than 100 (I think it was

actually less than 60) paintings. And sold only one in his lifetime -

to his art dealer brother, Theo. Would he have been a better or more

recognized painter if he had produced more images? Probably not.

<p>

I occasionally give myself a personnal assignment. I. E. take only

one lens and work that lens to it's maximun usefullness and

possibility. OR Find the image you want. Note the distance and divide

by 2. Take the shot. Divide by 2 again. Take the shot. OR Make very

large pictures of very small things. (Large format negs of weeds

blown up 4 or 5 times are great - makes people look at the beauty in

the small world that they step on.)

<p>

Steve's Basic Photo Laws:

<p>

1. Follow the path.

2. Turn around occasionally - the view is different.

3. Don't stay on the path.

4. Take breadcrumbs. To find your way back to the path.

I have to agree that 160 lbs. of gear is pretty astounding, unless

you're shooting 20x24" glass plates and lighting up the landscape with

studio strobes. I mean, Kenro Izu travels with about 100 lbs. of

equipment shooting ultra-large format (14x17" or some such

non-conventional size, I think). Lois Connor managed with her 7x17"

in China strapped to the back of a bicycle. What all is poor Hershey

carrying?

> What all is poor Hershey carrying?

<p>

Llama food?

You have to step outside of your self to really SEE. This requires

extreme inner and outer sensitivity as well as responsivness.Be

ALIVE!!Most are in waking sleep.They pass their lives in the

illusions of either the mind, the emotions, or the body.To be free

of this one must know what is and what isn't.One has to know both

sides of the fence before a choice is made....when both sides are

seen as well as felt... and all is still and silent within...then

its time for camerawork ....click!

I agree with much of what has already been stated. We are really

engaged in a conversation about 'how to live in the world' as much as

'how to photograph the world.' This to me goes to heart of photography

as an art. I would like to correct one small art-history error that was

made by Steve F. yesterday. Van Gogh actually painted about 800

paintings and made about 800 drawings, all in a ten year period. He was

extremely productive, with somewhat uneven results. People who think he

was a crazy fellow forget how dedicated he was to his art, happy and

willing to put in long hours day after day. But Van Gogh is only one

type of artist. Vermeer painted a grand total of 43 paintings that are

known. I don't think there is a second-rate one in the whole list. A

fairly long lifetime of work and only 43 paintings, most of them quite

small. But how many artists would love to change places with Vermeer,

if only to be able to paint the quality of light as it moves from an

open window across the rough plaster of a wall behind a beautifully

realized portrait!