When we position the camera, we are ultimately positioning the viewer of our photographs. We explore this idea using a 1757 painting by the Venetian Painter Canaletto, who often used a camera obscura to create his paintings.
Thanks to Dirk Rösler and the folks at the Large Format Photography Forum for setting these wheels in motion. Check out some of the conversations we’re having on Facebook and Flickr about photography and ideas.
Everyone has ideas, but many people keep those ideas hidden inside. The creative person finds a way to get those ideas out the door in a way that allows them to breathe.
“Anyone can print black – just put a piece of photo paper under the enlarger, turn the enlarger light on and leave it on. But light values… ahhh… light values… they are the soul of the black and white photograph. Not everyone can print white and have it sing.” So said one of my great photo teachers, Neil Rappaport. I took that advice to heart, but it was a visit to the Photography Study Room at the Art Institute of Chicago where I really learned the truth behind those words as I viewed Paul Strand’s photograph Mr. Bennett, Vermont, 1944.
Camera Position is ten years old! The first episode of Camera Position was published February 5, 2006 and it’s been a wonderful decade of learning about photography, my listeners and myself.
A huge thank you to all of you listeners out there! I really appreciate your support and your participation in the Camera Position community.
Episodes 69 and 70 on Gestalt Theory and Composition which explored the concepts of gestalt and visual communication. For those interested, I’ve also produced a free e-book, Resonating Images: Communicating Messages Visually
“How do I get started in learning black and white photography?” That was the question I got by the boatload after the podcast about B&W photography, so this episode is dedicated to articulating some resources for that pursuit, starting with some advice from one of the greats, Ansel Adams.
