Seeing Things for the First Time
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One of the most intriguing aspects of photography as an art form is the inherent impact of technology—there’s a fundamental conversation between the photographer, the subject, and the way in which that subject is being captured. What defines photography is not just the perspective and viewpoint of the photographer, but also the medium itself. And as we look back on generations past, it’s often hard to transcend that layer of technology and experience those images in any way other than in the monochromatic tones of the particular film technology that was available at that time.
I think about this often — most recently yesterday when discussing phone apps that add various retro effects to photographs. Polaroid borders, for example, often seem contrived, overused and a bit disingenuous. The best work is honest to its medium.
On the other hand, take black-and-white photography. Originally this was a constraint of technology, but nobody now would argue that black-and-white photography no longer has a place in the photographer’s vocabulary. We may never shoot photographs that technically lack color again, but black-and-white photographs will continue to be made.
Where’s the middle, then? It moves constantly, but is always determined by moderation, appropriateness, and good taste.
Often overlooked and very importantly, if you take photos that look current now they will be indelibly (and hopefully beautifully) timestamped as being from Today in the eyes of future audiences.
And from Brian Eno, 1995:
Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit — all these will be cherished and emulated as soon as they can be avoided.
- Jon Crawford-Phillips, imprint.printmag.com
- notes.caseyagollan.com
