Welcome back to this split post. Let's get on with Part II
And now,
what about the marvellous Eggleston’s approach? His statement reminds me of how
you hear people say “Money doesn’t mean much to me”. Whenever you’ve heard that
statement from someone, how often has it come from someone who has heaps of the
stuff and has no money worries? I rest my case. What I’m getting at is that
Eggleston is such a skilled and experienced artist that he can take a one
subject, one frame approach and know he will come up with the goods the
majority of the time.
In a way it’s
the exact opposite to the ‘spray and pray’ brigade isn’t it? I don’t mean in
terms of the number of photographs made, but in terms of the numbers of good photographs produced. I think there
would not be much argument with my assertion that Eggleston will consistently
come up with more ‘good’ images per hour spent with his camera than a member of
the photographic paramilitary who machine guns everybody and everything in the
hope that something will come out of it. Maybe I should conduct a study. Any adherents
of either approach out there want to contact me? We might have an interesting experience
finding out the real truth of the matter.
I am very
Buddhist in my inclinations, philosophically. One of the Buddha’s main
teachings was the Middle Path. The name of this teaching speaks for itself:
Life is best lived without extremes, by following a balanced way. For ‘Life’
read “Photography’, which for some us is
life! This Middle Way can really only be followed by taking a mindful attitude
to all our actions. This would seem to suggest that the ‘spray and pray’
brigade are not adhering to the way wouldn’t it?
But what of
Eggleston’s one subject, one photo approach? Nobody would argue that he’s not
mindful in his approach; he is actually an extremely thoughtful person when it
comes to his work. But, it is extreme isn’t it; one subject, one photograph? Well,
it’s not for him; he’s learned from experience what works for him, so he’s come
to a balanced position in his practice.
For me, it
would be extreme, as it would be I suspect for most of us. The clue for me is
what I said in the previous paragraph: ‘he’s
learned from experience what works for him, so he’s come to a balanced position
in his practice’. And that’s going to be different for each of us and it
will be an evolving aspect to our photography too won’t it? I mean as we gain
more experience we may find ourselves edging closer to Eggleston. Mind you it’s
going to be a few lifetimes before I get there!!
In the end
it is for me about mindfulness. And being mindful requires that we are as much
in the now of whatever it is we are doing as we can possibly be. In my work on
the street as a documentary/street photographer this means being right there
and mentally present to all that’s going on around me.
I think I’ve said it before somewhere else that
practising being fully present mentally will allow the development of one’s intuition
and, over time, increase the connection between the shutter finger and that
intuition. And it is this that allows one to be there for that moment that asks
to be recorded and preserved. It also allows your subjects to come to you, to
invite you to photograph them. Paul Strand, one of the masters, knew this: he
said once, ‘I don’t choose the things or people I photograph, they choose me’. Trust
me when I say they aren’t going to choose you if you’re machine gunning them!
