What I Love About Looking at Paula Lycan‘s Work is its Ability to Travel Through Time. These photos feel incredibly contemporary, depicting queerness in a way that is both sensitive and political. But there are also references to the early beginnings of queer photography, the textural and sensual darkroom prints of people like Peter Hujar. Paula’s construction of the visual language of the darkroom also feels like a very fresh take on visualizing queerness. Reclaiming the labor and physicality of the darkroom tangles into the physicality of the body present in Paula’s images creating a poetically intricate narrative. – LENSCRATCH
When Any Camera Intrudes Into a Person’s Space that Person Becomes Normative or in Other Words, Adopts a Pose That They Feel Is the Right Way for Them to be Perceived
Unless you take out your camera in front of an inanimate object or a person without any prior knowledge of cameras and photography there will be a change in your subject when they realize they are being photographed. The photographer has always hankered for invisibility.
When any camera intrudes into a person’s space that person becomes normative or in other words adopts a pose that they feel is the right way for them to be perceived by the photographer at hand. Big setups like those with a camera on a tripod and studio lights will give off a more formal feel from the subject while small cameras and less of a studio setup will give off a more informal feel from the subject at hand. In both situations, the intervention of more of the joint humanness shared by both the subject and photographer can lessen the normative behaviour of the person or people photographed.
If the photographer comes away from behind the camera body by using a waist-level viewfinder and or engages more with the subject, the subject will in turn relax and give more of their spirit to the resulting photographic images.
The subject too must be able to trust the photographer to give of their self into the same resulting photographs.
Drink some coffee.
When photography was born, the early cameras were bulky and very noticeable. The image through the lens was transferred onto a large sheet of glass and from this glass plate, a contact print was made. Candid photography was not generally possible. It was only with the start of production of the small rangefinder camera in 1932 and later SLR cameras that it was possible for the photographer to focus accurately and fast candid photography with a small camera was also born.
With the advent of digital photography, the world is awash with the photographic images of everybody and all their neighbours too. The days of many people feeling the need for the services of a person who understood the art of photography are largely over. Everyone now thinks that they are a photographer in their own right. In this wash of people taking pictures of themselves and their friends, the narrative photographer can at last hide in plain sight. The photographer can be invisible in plain sight in this wash of image takers while continuing documenting life as he or she uniquely perceives.
The Leica M6 camera is a small analogue rangefinder camera, it is what I use for most of my personal photographic work. The Leica M6 is a small quiet rangefinder camera and in many ways, it is just like the first rangefinder cameras of 1932 which could be used without much attention called to its self unlike the bulky cameras of those times.
Alongside my Leica M6, I am now starting to use my iPhone 6 phone camera for some of my personal work too.
With the wash of many people taking selfies with mobile phone cameras in public places, I have found out that I can use my mobile phone camera for street photography with drawing close to zero attention to myself while doing my stuff as a narrative photographer.
In many ways, the modern mobile phone camera is the Leica M camera of its day. My iPhone 6 camera is hiding in plain sight in the midst of all the other mobile phone cameras clicking round about…
One goal Of dialogue Among Cultures And Civilisations Is To Recognise And To Understand Not Only Cultures And Civilisations Of Others, But Those Of “One’s Own.” We could know ourselves by taking a step away from ourselves and embarking on a journey away from self and homeland and eventually attaining a more profound appreciation of our true identity.
It is only through immersion into another existential dimension that we could attain mediated and acquired knowledge of ourselves in addition to the immediate and direct knowledge that we commonly possess. Through seeing others we attain a hitherto impossible knowledge of ourselves. – Mohammad Khatami, former president of Iran. (pp 267) Reconciliation, Pocket Books, London.
How To Properly Measure Your Instagram Engagement Numbers
When building a business on Instagram, everything you do should be focused on 1. maximizing the number of people who look at your content and 2. care enough about it to take action whenever you ask them to do anything (tap, click, buy, comment, share, think, etc.).
You can buy or hack your way to millions of people looking at your content, but if none or a very low percentage of them care enough about it to engage with it (like, comment, share, save, repost, etc.), then how can you expect them to make the even more involved step of visiting your website, or buying your products, or donating to your charity, or being interested in the products you promote? You can’t (and you shouldn’t)…
6 min read
A Moment Caught, Needs Visual Devices to Work as a Photograph…
Susan Sontag said a photograph is a three-dimensional moment in time that is seen and then captured and cropped into a two-dimensional frame. Though the three-dimensional moment is seen by the human eye the moment it is contained in the two-dimensional frame of the photograph it needs visual devices to work as a photograph for the same human eyes now gazing on it in it’s altered form.
The two-dimensional frame of photography is noticed the moment we take a camera up to our eye. The unframed world seen by the human eye is sharply cut into a small rectangle with defined edges and corners that is not natural to the normal human vision. These defined edges affect the final picture. You can emphasise the vertical with a portrait frame or you can emphasise the horizontal with a landscape frame. It is within this vertical portrait or horizontal landscape frame that we position the content of our photograph.
By positioning the main focus of our image using the general rule of thirds, we can be in a strong starting point in photography. By dividing the length and width of the camera’s rectangle viewfinder into thirds we have four points of pleasing visual strength. By placing the focus of the image on one of these points and not dead centre of the photograph the image will have more interest in the human eye.
Drink some coffee now.
The camera just faithfully records what is in front of the lens, the photographer must crop and use the defined edges of the image to hold the photograph together. The human eye can concentrate on an area of interest, the camera cannot…
Along with the edges of the frame and the rule of thirds, the photographer has a list of visual devices that will lead the eyes of the viewers of the photographer’s images.
A pattern in photography is made stronger when it is broken. Without a halt in the pattern, the photographer might as well just photocopy a piece of wallpaper. A crowd scene with a lone flagbearer makes a spot on which the human eye can rest. Without the flag bearer in the swirling crowd, the eye of the viewer will soon drift elsewhere.
A line in a photograph can be a divide between elements, a chain of elements that together form a visual linear link through a picture. A linear element leads the viewer’s eye around the image. A linear element can be straight, curved or jagged and can affect the overall feel of the photograph too.
We live in a world of colour. Photography heightens the effects of the colours that we are surrounded by and to some extent take for granted in our daily lives. Colour can link elements in our pictures. Warm colours like red and orange come out to the viewer while the cool colours like blues and greens move away from the viewer. The light by which we take our pictures is not neutral either, it can be hard or soft. Hard light heightens colour and soft light mutes the same. Colour is reflected by light and by doing so it takes on some of that colour in the end photographed quality.
Contrast is described as the state of being strikingly different from something else, typically something in juxtaposition or close association. In photography, the strikingly difference can be light and dark, texture, colour or pattern.
In closing we must remember that all of the above are just devices and not the subject of our photographs, these devices well used can make our pictures much stronger but they are never the subject matter of a photograph that has something to say for itself.
Finish off the coffee and have an open discussion.
HIV and TB, And Now Covid 19 In South Africa
Photos and Words John Robinson
Gogo, you kept us strong when we were bitten by the whip, and we are still strong. Though we are not a nanny state people, through you our elders, we are strong. Though we are not of orderly streets and straight lines. In this Gogo, we are strong.
We know of viruses and microbes in our midst. The devastation they cause runs deep on our pathways, soaking our fields with premature endings that alter the ways of our left-behinds totally, but Gogo, you have made us strong.
Gogo, you have done your bit, you have been strong for us. If it is your time now, pass with peace of mind, you have made us strong. What you have taught us over the years is with us now in this new thing. All your grandchildren are strong now.
-I have had an inner peace that the people of Africa will come through the Covid 19 pandemic stronger than many others with better resources. The difference is in our collective strength through the bitter experience with the viruses and microbes of our daily lives… John Robinson
Images Of an Old Lady At the End of Her Life and a Girl Who Is Starting Out on Life
Photos John Robinson
At the time when my mother’s independence failed her, my daughter Erin’s (1) was just developing. These seven images are aspects of an interaction between an old lady at the end of her life and a little girl who is only starting on her life. We are all somewhere between these two points. These images were taken during family visits to the frail care centre where my mother spent the last few months of her life on this earth.
My mother Lin Robinson had an Astrocytoma grade 4 tumour removed from her brain, after the operation, the surgeon said to my dad and I that mom had 3 to 6 months to live. Lin Robinson went on to live another 10 years or so. After one more operation, my mom opted to have no more surgery done in her head. The last years of her life were quieting ones, there were the visible effects of brain surgery and the invisible ones too to be detoured around by the whole family.
My dad cared for mom at their home until the point came where mom had to be cared for in a frail care centre. Lin Robinson always liked to walk around in the garden with her husband holding the flowers that he grew for her. She died in a room with a wheelchair beside her bed and had to rely on my dad to get food into her mouth. The last time I saw her alive she knew that I was taking pictures and she smiled at me, it was too late for words.
I feel that my mother just got tired of what is, my father and mother were people of great faith and she wanted to move into the great beyond.
That night I drove home under a starlit night after taking the last photograph of my father’s hand and my mother’s now dead face.
Photo John Robinson
Two holiday makers absorb the last of the winter’s sun on the paving of a northern Durban beach.
Photo John Robinson.
Buhe is celebrated with flames, around 19 August each year the Ethiopian Coptic community light a bonfire in the remembrance of the transfiguration of Christ as in Matthew 17:2. St Mary’s Ethiopian Coptic Church, South Beach, Durban, South Africa.
Photo John Robinson
A man goes cycling through an underpass on a mountain bicycle on a Durban winter Sunday afternoon.