“I loved the title Civil Landscape and was drawn to your images on street demonstrations. There is a real energy to them. I could see you picked moments where people are absorbed in what they are doing and don’t notice you. I have commissioned a project by Dryden Goodwin where he photographed around the streets of Oxford Street in London and had the same experience. He was close to people but not noticed. However the signs people are holding are also interesting here. I will refer you to Simon Roberts project ‘Let this is a sign’ for someone who became interested in rhetoric and signs. It looked like a very snapshot technique here not sure what camera you were using? but that fitted the energy of the work. I was interested in was in black and white – did you consider it in colour also?
We are living in an interesting moment of civil action and of course your title immediately makes me think of images of the civil rights movement – which we are in the midst of again. I would keep out there and taking shots on demos. We now in the UK have a wave of anti corona virus demos – bizarre phenomena – but worth recording? I noted your influences. I too am a big fan of James Turrell.” Lens Culture
“The trace is the appearance of a nearness, however far removed the thing that left it behind may be.” (Walter Benjamin, AP, p. 447) Each retinal image should be understood as a photographic trace of the object in space and time, it is where a body in movement leaves a memory.
The profane shadow produces a latent un-fixed Image on the retina. It needs to be ‘developed’ before it can perceptually reveal its persistence.
As Ruskin noted: “the perception of solid form is entirely a matter of experience” (Sept 2014 blog) then the profane shadow in the Invisible Landscape is not fixed but latent, it can only be a succession of shapes over time that reveal their true perceptual persistence in a non-retinal form when we don’t look at them.
Much if not all of my color abstract work in ‘The Restricted Light Project’ follows Da Vinci’s detailed explanations found in his Codex especially those sections on Light and Shadows. His approach to Light was to categories it as follows; Light in the Open Country, Light of Luminous Bodies and Restricted Light. ( Paris C. J 111-116)
In Photography we further conclude that there are three basic qualities of Photographic Light, irrespective whether it is Light from the Open Country, Light from Luminous Bodies or Restricted Light. These qualities are: Quality, Color and Brightness (or Luminosity)
The Invisible Landscape is part of a body of work that has been developed as a result of my exploration of ‘Absurd External Realities’
Photography was once used to examine, explore and capture invisible events within in motion and action, I continue that tradition of exploration by using photography to question that which is still invisible, the density of cast shadows.
The human visual system offers us a very limited window to the world and its with this limited visual system we must create a reality of that world. The same applies to the technical limitations of Photography. My approach in this series is that there not just one window, but many, and therefor an infinite number of visual interpretation possible. In The Invisible Landscape series I am concentrating on external reality of cast shadows in the landscape and I have gone back to the basic questions that Artists have asked for centuries: how dark is the shadow?
This body of work is a reflection of the progress I have made over the last 7 years in exploring cast shadows. And as a result of this work it is my belief that cast shadows can only ever be, in the words of Maurice Merleau-Ponty : ‘objects of imminent visibility’ and like the latent image in a photographic negative they are never quite visible but rather ‘are always in a state of appearing’.
In conclusion the question ’how dark is the shadow’ can never be answered with any certainty and I must accept that there are an infinite number of possible conclusions to the question. All that is left for me to do therefore is to refuse to accept the limitations imposed by technology and the visual system that forces me to see them. All I can do is to continue to learn, to explore, to perceive such ‘objects of imminent visibility’. I find myself in a space confronted by the absurd external reality of ‘the discovery of appearances’ (Konrad Fiedler).
It is a space where I go to seek what I may never see.
I am posting this in protest at the recent appalling attempt by Apple Inc to produce software based ‘vanity bokeh’.
Some points to note:
While its true that sensor size and lens construction are important contributing factors in the creation of Bokeh Ajji, It is the number of blades in the aperture and the distance from subject that are most critical. Thats why for instance you never see Bokeh in wide angle shots, just close ups (physically mid-shots and close-ups). Three things you do not want to see in Bokeh are: polygonal Bokeh, Doughnut Gradients inside the Bokeh, and round shaped Bokeh to the edge of the frame, (its always oval at the edge due to lens vignetting).
I try never to trust my vision, so with the Invisible Landscape project I have gone back to basics and now concentrate solely on the ‘cast shadow’. Shadows are somewhat difficult to perceive as the shadow darkness, its density, is predicated on the background stimulus outside the shadow area. Ruskin noted that ‘the perception of solid form is entirely a matter of experience’ So from a purely vision based perspective its density is controlled by the overall scene brightness. It is light or dark because of the overall background stimulus outside the shadow area.
To me shadows are essentially invisible objects and where once Photography was used to explore invisible motion, I continue in that tradition to explore the shadow. In order to do this, one method I have is not to use my vision but my perception to discover its ‘imminent visibility’. (Maurice Merleau-Ponty) The Images in the Invisible Landscape project were all taken during daylight. No artificial light was used.
With ‘The Restricted Project’ I set out to “discover appearances” and interestingly a colleague quoted Malevich “liberating non-objectivity ” who goes on to say: ‘…..drew me forth into a “desert”, where nothing is real except feeling..”. Of course much of the work conceptualized in ‘The Restricted Light Project’ requires a deep understanding of Light, (and of course Color and Shadows), but in essence I follow Leonardo’s guidance in his Codex (Vol 1 book 5) on restricted light. He divides light up into three types: Light in the Open Country, Light of Luminous Bodies and Restricted Light. ( Paris Codex. J 111-116)
1) In General: The Restricted Light project rejects the bourgeois concept of the certainty of a Photograph. That it is a mirror, even truthful representation of what things are.
2) Restricted Light: Color Abstracts are defined by the space; which at certain times of the day is contested by natural light and artificial light. Under these conditions there is an abundance of color.
3) What is captured in the Photograph is not a object but an event, an event that is continually being shaped by transient nature of light and color, both from the outside and the inside. The works in the Early Light project come from the transient features of light and color.
Unless it is to serve some scientific purpose, for example a photograph of a landscape indicating the geology of the region, the question whether a photograph shows the highest level of fidelity is irrelevant and misleading. As, based on the Artist perception there may be an infinite number of interpretations of a landscape. The camera after all is just another paintbrush with which to probe the invisible and the resulting image must be true to the artist vision and not to the object. The Early Light asks “what do things look like when we don’t look at them” meaning of course that one should use perception and the knowledge of light and color for ‘discovering appearances’, anything less is merely a data collecting exercise.