Q:yo just wanted to say i love your work... and do you have any tips on approaching people about taking their photographs? thanks, peace
Yeah, people react to your interpretations of them. See only Truth, Beauty and Goodness. Expect that from everyone without reservations of fear. You can control this by first seeing it in yourself. Everyone can serve as a mirror that reflects your own light. Believe in yourself and you can do anything. There is nothing to fear in the Universe, especially yourself. This is the lesson I teach in-order to learn it for myself. Photography isn’t an art for me, it’s another means for salvation.
Exactly right advice for approaching people.
Portraits from Folmer and Schwing 4x5
This vintage 1900 camera was given to me by Seattle photographer Ken Slusher (www.openmondays.com). These portraits of my son are the first images shot on this camera in decades. The camera still presents possibilities, even after 114 years. (f8, 1/8)
Currently Reading: Aperture Magazine Anthology - The Minor White Years
Published on the occasion of Aperture’s sixtieth anniversary, this first ever anthology of critical writings from the magazine provides a selection of contributions from the first twenty-five years of its life - years under the editorship of visionary Aperture cofounder Minor White.
Currently Reading, Minor White: Manifestations of the Spirit
White described his sequences as being like “a cinema of stills” and called on the viewer to be an active participant in experiencing the varied moods and associations that come to the fore while moving from one photograph to the next. “To engage a sequence,” White wrote, “we keep in mind the photographs on either side of the other in our eye.” Over the course of his career, White created over one hundred sequences, series, and portfolios. Viewers of his sequences must not only read each individual image in relation to adjacent images but also consider all of the images in a highly structured grouping as the complete expression of an idea. As Peter C. Bunnell has aptly pointed out, White’s sequences have many levels of meaning, but these can be generally categorized into three main groups: superficial, underlying, and ultimate. The superficial meaning is descriptive; the underlying meaning is symbolic, and the ultimate meaning is intensely personal and thus the most elusive. Picking out the ultimate meaning requires both a good deal of concentration and a thorough understanding of what was going on in the artist’s life. (page 10)