A window of opportunity light

Nine forty seven

Nine forty seven

Life hasn’t been so conducive to study recently, making pictures has certainly limited for course intent) and no time for reading, but I found some time yesterday to find these images, and as I write this I am conscious that I missing a meeting of the print group that I founded about a decade ago, this is the first meeting I have missed in that time.

Our home is being changed, we’ve been here for the best part of thirty years and this will be the second major change in that time and these reflections here have a strong bearing on the images. I wonder whether I’ll be able to use the images in any assignment coursework; nine forty seven above is very abstract and is the view from one of our bedroom windows.

Nine fifty eight

Nine fifty eight

The level of abstraction diminishes with perspective at nine forty eight, the incident light tells a story through the abstracted view far better than the second view I think.

I wondered about how fantastic the view would be from the top of the scaffold, but when I ascended earlier I found that whilst it was certainly different it held no greater sense of narrative than these smaller worlds I have found which have illuminated parts of my life in the places where I have lived them. The new gable-end offers a landscape I haven’t seen before and somehow those ‘grand-landscapes’ of Montana and Utah, I once found so alluring, found their way into my mind. The vesting of myself in those ‘big-country’ shots was about the fortuity of arriving at a scene when the actors were performing, the weather, the light, the wind , the rain and if they weren’t then drive on. Here today gone tomorrow. I won’t be able to see the view again, I have a couple of images and maybe over time they will tell me another story, but for the moment I am interested in stories that have unravelled.

Nine fifty seven

Nine fifty seven

Light finding me. This is a beautiful print, I know because I printed it and everyone says how lovely it is, we hang it on the stair wall. Curiously it was taken in Lapland, well inside the Arctic circle where we had gone, ostensibly to ‘see’ the Northern Lights, unfortunately someone had turned them off the morning we arrived and we never got to ‘see the light’, this light arriving through the landing window is another sort of light. I thought about my reaction to these prints that I have largely stopped even trying to make and in doing so purposely made an image of one bathed in the light that I am trying to use in developing fictional narratives. The image is of course a fiction, the light is a construct, as much a construct as the notion of the beauty within it. Conversant as I was when I made the original image with the techniques that would render the capture into an object, supposedly beautiful, wasn’t, I don’t remember a conscious thing; so a sub-concious thing. The making of the image above was a conscious decision, the ‘new’ light playing the punctum into that consciousness, reminding me of what I was doing and to an extent why. It is an obvious image, the play of light across the frame, the signature was important to include, the mark of what it is, what it represents and what connects it to the lens. In someone else’s parlance this might be a keeper.

Nine thirty one

Nine thirty one

This image was the one that triggered the short session. I found the pull cord quite significant, I wonder about detailing what it is that it connects to in what is visually a slightly enigmatic image. I can’t quite describe what it is that I feel about this photograph, it drew me whem I made it and regarding it twenty four hours later it still does. I made another shot which excludes the pull cord:

Nine thirty two

Nine thirty two

It displays a greater amount of abstraction, enhancing the enigma, but offers less in the way of narrative potential I think. As I continue to work on this project I find myself drawing ever more closer to a determined auto biographical narrative; it isn’t what I set out to do, I wanted to find light that illuminated a space and, by implication, a time. These marks of time could then either invoke a story or invent a story, not some brat dramatic work, but those individual small episodes of life than in and of themselves aren’t going to change the world, rather inform, or illuminate on the way. I shall think about broadening the perspective and see what that might bring. The file that use for this work is called ‘Village Walking’ and might be described by some as a psychogeography, and I suppose to a certain extent it is. I envisioned though a view of a small village, the intricacies of a life in a place that has had trauma and triumph in measures equal to it’s size; but the project thus far is more explicitly a portrait of a life lived and I’m not sure that allowing it to be dominated by one person is a good idea, nor again whether the confines of the space that it resides in is either. However I am excited by some of the images I am making.

I shall miss the ‘Forum’ group meeting today, the friends that I brought together, some of whom hadn’t met when I gambled on bringing these photographers to associate and to talk about their work, what it was we were trying to do. There is no doubt my capability to produce prints nominally described as beautiful owes a lot to those exchanges across a dining table in the house that we have met for years. The patience they have shown me as I have tried to develop was key to that growth, but I wonder now as I have purposely questioned my own sense of purpose with photography where I might get the sort of candid discussion on the work that I am trying to make currently.

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