What Is Your Philosophy?

Discussion in 'Philosophy' started by Phil S, Nov 24, 2017.

  1. What is your philosophy, if you could only state it in pictures and not in words? Do you think you have one, a philosophy of nothing but images?
     
  2. gerald-at-home-FINAL-P2012-w.jpg
    No.
     
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  3. That picture says something about the act of looking and observaton in both a serendipitous and constructed manner. I like how the green bottle cap, the eyes of the guy in the couch, the edge of the ball, and the eyes of the portrait on the wall all align.
     
  4. Marxist-Lennonist
    Marx-Lennon-poster.jpg
     
  5. Norman

    Norman Norman T Naffington

    if you were to twist my arm, i’d say i want to be different. but what does that mean? here’s a photo of my most recent street photography project where i’ve been photographing, literally, the street (or as near as damn it).

    D92E5CA2-3E0D-4443-9840-A597F4497403.jpeg
     
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  6. Norman

    Norman Norman T Naffington

  7. The street is a heartbeat. Moriyama is a good example of a photographer who breathes the street throughout a philosophy of photography that goes beyond the application of style.

     
  8. Norman, I was thinking of which photographer your picture mostly reminded me of...Alex Webb from Magnum has a style of framing which often uses a similar play between foreground/background, intrusion and cutting off of compositional elements while all being interconnected with a vibrant color palette. LINK

    Your picture works like that in a similar way. I think it would benefit from some more saturation to bring out all of those colors and hues of red/blue/green/purple (and yellow beneath the shoe) against the black of the background/foreground.
     
  9. In spontaneous portraiture (documentary) "connection." 11x14 girl in santa barbara retouch 3.jpg
     
  10. Artists don't choose their muses, the Muze chooses the artist. The Muze can be any landscape or mode of being from which to harvest imagery and which is something that goes beyond images in as much as one can think without them.
     
  11. Connection, yes. On the other hand if and when a photograph or work of art makes me feel disconnected, that's when I'll notice it. Art is not a leash.
     
  12. The feeling of disconnect is a connection.
     
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  13. Much as I love your retort, Supriyo, and think it works in context extremely well, I generally prefer to keep things relatively straight. So I think of connection as connection and disconnection as disconnection. I think disconnection is just that, disconnection, or not connected, perhaps severed or detached or disassociated or separate. The important aspect of disconnection is that it's not a connection, not that it is a kind of connection. The reason it's not a kind of connection is that it's not a connection at all. Except to the extent that everything is connected to everything else (which I got over by the late 70s), which would mean there's really no such thing as disconnection, but there is!

    _______________________________________________________

    Steve's portraits show connection and he celebrates that. It shouldn't be undercut by bringing in disconnection as what really gets noticed. A connection doesn't have to be a leash unless a particular viewer makes it one or a particular artist binds himself by it. Connection can simply be genuine. When it is, it's well worth recognizing it as such. And it's very worth noticing. As is disconnection, which has a tendency overall to be much more forced in the art world than connection. Artists and photographers can twist themselves into all kinds of insincere knots in order to pretend to be alienated, because after all [sarcasm]that's what artists must do.[/sarcasm]
     
  14. At the beginning scene of the original 1973 version of Agatha Christie's "Murder On The Orient Express" movie an immediate connection in its most simplest and direct form was made when the famous detective, Hercule Poirot, after being informed in great detail by a military officer escort who regaled the detective with his deep knowledge of the detective's European destination by train where Hercule simply asked..."You have been there?!"

    After which the officer sadly replied..."No" and Hercule replied..."Oh". The officer kept his mouth shut the rest of the trip. There was not to be anymore bullsh*t the rest of the movie.
     
  15. Insofar as any creator wants me as the viewer to obviously notice and connect to the work, yes. But they're two different feelings requiring different approaches in the creation and presentation of a work.
     
    Last edited: Dec 31, 2017
  16. Any portrait of someone looking straight into the camera (which is the example Steve posted to illustrate connection) will show a connection in terms of how humans are naturally triggered to respond emotionally when lookig at another human directly or when looking at each other. The question is, connection to what?
     
    Last edited: Dec 31, 2017
  17. I don't agree. Take a look at THESE TWO PHOTOS. The person is staring directly into the camera in a completely disinterested and unconnected way. I feel a disconnection from her rather than a connection to her. I think that was the intent of the photographer and appreciate the result. In fashion photography, sometimes alienation can sell. As you say, connection and disconnection are, indeed, "two different feelings requiring different approaches in the creation and presentation of a work," and I agree with that. Steve's photo of a direct gaze into the camera is very different from Hart and Leshkina's. For me, Steve's direct gaze establishes and recalls a connection and the fashion photo's direct gaze does the opposite. And, of course, it's not just due to the type of gaze, though that's a big part of it. It's also got to do with coloring, the deliberateness of H&L's posing compared to the more relaxed and casual position of Steve's subject, the relative warmth of Steve's tonality as opposed to the coldness of the surroundings in the fashion photos.
     
  18. Like I said: connection to what? Which is what your last post is describing (a certain kind of connection between subject and viewer, even if it means a sense of disconnection). So I don't see where the disagreement is.
     
    Last edited: Dec 31, 2017
  19. For me, disconnection is not a kind of connection. It's disconnection. As you said above, "they're two different feelings requiring different approaches in the creation and presentation of a work."

    You had said that gazes directly into the camera establish connection in any photo. That's what I disagree with and my example showed how a direct gaze into a camera can establish a disconnection. You are now saying that disconnection is a connection which, IMO, it's not.

    To be clear, this is the disagreement: You said any photo with a direct gaze into the camera establishes a connection. I disagree with that and posted the examples to show it.
     
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  20. What your linked examples show me is how the photographer set out to display a sense of disconnection then. In order to do that you have to first connect to the viewer and which is what all direct portraits tend to do almost naturally, regardless if the connection is a virtuous or positive one, or is more negative in tone. It's not hard to establish any type of connection in such direct gaze portraits. So the question remains: what kind of connection?
     
    Last edited: Dec 31, 2017

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