Taste of Uruguay

 

For those of you wondering what happened to my Uruguay work, well, here is a little taste. This project is really fun, at least for me, and what I’ve done so far is ONLY the beginning. Different from most of my other work, this project is layered, textured and confusing to some degree. The elements are tied together with the thinnest of ideas and lines, but that is plenty for me. My first task was to edit the work down to about 200 color images and an equal amount of the black and white flavor. Then, I printed them all. In this case, 3.5×5 with the color square images printed small and centered on the 3.5×5 paper. Then I began to mix and match. I tried a little of this, a little of that. I started over. I put all the prints out on my living room floor and waited for the UPS guy. I waited for the Fedex guy. I waited for the kid selling chocolate bars. I waited for the Jehovah’s Witness people. I waited for the Mormon kids. I waited for the guy that paints the address on the curbs. I waited for the Girl Scouts. I waited for anyone who came near my house and past the three levels of “no soliciting” signs. I figured anyone with the cajones to come this far would be fair game for a little editing.

 

THEM: “Have you accepted Jesus Christ as your personal savior?”
ME: “How bad does he want me?” “Bad enough to sequence these 400 pictures?”

THEM: “Do you want to buy some cookies?”
ME: “Ya sure, come on in, let me find my wallet.” “Make yourself comfortable, and hey, have a look at those photos and put them in the order you think looks best.” “Your only six-years-old?”
“I don’t care, I’m looking for the youth vote too?”

THEM: “Will you sign here?”
ME: “Right after you figure out if I should put the black and white with the color or keep it separate.” “You scratch my back, I’ll scratch yours.”

 

I’m still a long way from anywhere, but I did a book anyway. I want to stress this to you endearing public. Don’t be afraid. Making a “casual” book like this is an education in itself. After I loaded it, and ordered it, I made a realization about the work that I hadn’t been able to make before. But seeing it on the pages and in sequence allowed me to have an “Ahhhh….HA” moment about where the next edit will begin and what direction the work will follow. And, it’s entirely different from this book. Funny how that happens.

Ninety, savory, color, softcover pages. This will come down in page count. Plenty of fat to be trimmed off of this prime cut.

Someone asked me earlier today, “What is this going to be?” I haven’t a clue. A book? A show? Or just a reason to move my brain?

Peru in Print Form

Practicing what I preach….the first Peru prints are beginning to surface. I LOVE talking print, especially with “modern” photographers. You see, many people choose not to print, or they never have. We look to the future and see glowing screens and suddenly we want to write off the entire history of our medium. We look at things like an iPad and say, “Well, clearly that is the future, print is dead people.” Me, I no like so much. I simply don’t believe this. Yes, the screen is a great thing, but it ain’t the only thing. See, I like it all, appreciate it all and don’t feel the need to draw that imaginary line in the sand. Why? What is the point? (I’m sitting in my office with one tower, two laptops, an iPad and an iPhone)
I’ll tell you why I make these small prints. They make me think. They make me consider. They force me to edit, to think critically and to sequence. They allow me to dream. Like a puzzle with multiple ways of assembling. No right, no wrong, just endless choices.

I’ve never had anyone enter my house and say, “Hey, can I look at your work on the iPad.” What I HAVE had happen is people come over and ask “Hey, you have any prints from Peru?” Again, nothing wrong with perusing this stuff via iPad, iPhone, iMac, iWhatever, prints are just another flavor of candy.

The cool thing is to put these small prints on the floor and consider them at a distance. You can almost blur your vision and see them as an amalgam of one, continuous flow of color. Your eyes will play tricks on you but your eyes will also lead you to the promised land. What goes where? React and you will see. Forget what you know and just feel. Seems a little guru-ish but don’t take me that seriously. Just try it.

And Then There Was One

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A classic on a Palm Springs street. Edited down to one frame. 2007

I had an interesting conversation the other day. I was away from home, ran into a photographer who found out I make a lot of books. He expressed interest in what I was doing, how I was doing it, and I was happy to share what I knew.

But then something interesting happened. He asked about editing. I gave him my lowdown on how I edit, but also said that each book is a unique experience, so there was no “secret number” of images that a book must have and no “secret order” of things. The book would be his creation, and his edit would pave the way forward.

The old cliche, “You’re only as good as your worst image,” in my mind, is very true, and I have personally seen a table full of editors tear apart a portfolio because of one weak picture, forgetting anything redeeming the portfolio offered before they descended on the weak photo.

My friend developed a concerned look on his face and began to look around the room, appearing as if he was trying to solve a tricky math problem.

“Well, if I shoot 4000 images in a day, for my client, I normally just edit those down to about a 1000,” he said. “What do I do, just put all those in a book?” he asked.

And there we were. This situation had been brewing around in my mind for quite some time and I thought this a perfect time to investigate this specific situation.

“No, I would give yourself a number, say 50 images, and then edit that again to make sure you don’t have any weak spots, or images that are not helping to tell the story,” I answered. “One of my best books has twenty-pages and about ten images total,” I added.

My friend grew more concerned.

“I don’t know how to edit like that,” he said, with a look of desperation.

This photographer had been working as a pro for many years, but I THINK had really come to age in the digital world, so shooting that image total for a day was a “normal” occurrence, something that for me is way outside what I would typically be doing. I would do an entire long-term project and not shoot that many images. A few short years ago, making this many images in a day was rare, but today it seems to be the norm. I see story after story about photographers shooting tens of thousands of images for a piece, project, story, etc, and my first thought is always, “Oh man, who has to edit all that?”

Editing is something you have to learn, and to study, but it isn’t anything that should be feared. Editing is about decision making, being able to select your best images and being able to explain why you selected them. No biggie, you just gotta practice.

“Hey, not a big deal, you can learn to edit,” I explained. My friend didn’t look convinced, but I know when he sits down to make the book, he will quickly realize that it’s far more enjoyable to work with say 50 images than 1000.

Let’s go back in time for a moment.

When I was in school, actually trying to learn this thing called photography, a HUGE part of what we did was edit. We dreamed something up, or we were handed an assignment, we trudged into the field, box camera in tow, twisted knobs, slide things around, draped our heads in cloth, and managed to snap off a frame or two. Sometimes, if were lucky, we’d grab a 35mm, and snap off a roll or two. A roll or two. A frame or two.

And then, we would EDIT. Yes, you heard that correctly, edit.

What you chose, and why you chose it, was a critical part of being a photographer. It was, in some ways, as important as the actual take. Make a great take, choose the wrong images, and your great take ended up not so great.

You chose your images, printed your images, then stood in front of the class and explained the decisions you made. In essence, there is no right and wrong, but editing is what begins to shape you and your work, and is what helps you develop a style.

Practicing this ethic taught us many things, but first and foremost, it taught you that excessive shooting in the field wasn’t a good thing. Photographers watched, waited and then made their move, shooting only the moments or details that contributed to the story. You might shoot two or three frames of something, but rarely ever more. I think today we have lost this idea to a certain degree, and the idea of shooting thousands of images in the field has become an accepted method. Personally, I think this damages the impact of what we are doing, and will continue to do so. I can’t tell you how many edits I’ve done where the photographer shot twenty, thirty, forty or more images of the exact same thing, and for no particular reason other than they could.

And coupled with this excessive shooting, what I’m finding today is a near total lack of knowledge in regards to editing, and more so, an almost total lack of teaching in regards to editing.

When I asked students about editing classes, they just reply with blank stares, and I think this has had a profound effect on our industry.

I’ll give you a typical scenario.

Student: “Ah ya, I’ve only done a loose edit, and was hoping you could take a look.”
Translation: “I shot 1000’s of images, they are on my laptop, I haven’t made a single print, and I haven’t even thought of editing.”

Student: “I was hoping you could tell me your favorites.”
Translation: “Geez, can you edit this mess for me?”

People, everything is interconnected. You give a young photographer,or old for that matter, the ability to shoot endless images, and it’s no different than handing a teenager the keys to a Ferrari and asking them to keep it under 55. Unrealistic.

Couple this with the fact that editing today typically requires a computer, often times on a small screen, and suddenly things are coming apart. If you are given the task of editing 4000 images on a laptop, in a hurry, well no wonder editing has been lost. It isn’t fun. It’s all about blowing through it and moving on, because perhaps you have to do it again tomorrow. Editing from a contact sheet is a far easier way of editing, but that ship has sailed.

I’ve done shoots where I’ve shot too much, then been saddled with having to quickly turn the images around. In my mind there is nothing worse in photography. Not only do the results typically really suck, but the process isn’t fun, and for me it, it really isn’t even photography. I can totally understand this for news, PJ, etc, but this style of work has taken over nearly every genre of photography. Why does it seem that everyone, regardless of what the shoot is about, is on deadline, and needs images at a record pace? It’s this way because we photographers bought into this, simple as that. In most cases, if people do their jobs, there is no reason to have to work this way, but we have accepted it, and now must live with being under pressure and being rushed nearly all the time.

I do know photographers who don’t work this way, but their numbers seem to be dwindling. However, I think their work is consistently better than those of us who are always rushed. No big surprise there.

Robert Frank, the legendary photographer who completed the project “The Americans,” is a great person to think about when it comes to editing. I was recently able to see the exhibition of his work, in both San Francisco and London, and if there is ONE THING I would take from this show, outside the actual photographs, it is in regard to the edit.

Now I can’t remember the exact numbers, but over the months and months that Frank was in the field, he shot either 27,000 images or 72,000 images. I could probably look this up, but I’m too lazy.

He edited 58 images. Or 53.

Let’s just take a second to think about that.

Let’s take the lower number, 27,000, just to safe. He edited 58.

Okay portrait shooters……how many frames did you shoot on your last voyage? 200? 500? 750? 1500? What was your “edit?” 500? 200? 100? Is that really editing?

Wedding snappers? Don’t even get me started. I hear it from the wedding planners I work with, of photographers selling quantity, then dumping 5000 images online for a client to wade through. That ain’t editing, or even photography in my book.

I don’t think anyone is immune at this point. Photojournalists shoot too much, send too much, file to much, cram too much into multimedia presentations that are ten minutes long that would have far more impact at two minutes.

And yes, I’m guilty too. Look, you put a box of Coco Puffs in front of me, I’ll eat the entire box. I can’t stop myself.

Sitting here thinking about this feeble post, I’m reminded of something else. This image at the top. There are more, other angles, other directions, other points of view, but this was the one, in my mind, that was most powerful. It took me about five minutes to make that decision………………….FIVE MINUTES.

You can do a lot today, in five minutes. How many Twitter posts can you do? How many pages of Facebook can you read? Could probably send a lot of text messages in five minutes. Wink, wink.

This image at the top was shot two years ago, but I never saw it the first time. In fact, there was A LOT from this shoot I didn’t see. And then I found the contact sheets. And I sat with the contact sheets. And there they were, all these images that prompted me to say to myself, “I don’t even remember shooting that.”

The point is, in many cases, we have to live with the work, for at least a little while, before we can truly appreciate it, or even understand how it works together. But in today’s photo world of hyper-rushed nonsense, there just isn’t time, or at least that is what we tell ourselves.

After having been at our industry’s most significant trade show, for three days last week, I’m left with far more questions than answers. You can now get a camera that shoots massive, high resolution digital files, and also high-definition video at the same time. You can get a printer with 12 inks that has an alleged lifespan of 200 years and you can have a book made quickly and easily.

But none of this makes any difference at all if photographers have completely lost touch with the basics of photography.

Do you know about light?

Do you know about timing?

Do you know about composition?

Can you edit your images?

If the answer is “No,” then it won’t make a bit of difference what you put in your hand.

I’ve beat this drum many times, but I’ll do it again. We have to learn to slow down, and we have to learn to think once again. Our brains are running the hundred meters, but our pursuit requires us to be marathon runners.

Next time you shoot, do yourself a favor. Put the work away for a few days, let it stew. Then return to it and look at it with fresh eyes. Then edit down to one image. Pick the best one, and when someone asks, “Why is that the best? have an answer for them. THAT is called editing.