I got to the Hokusai show at NGV on a rainy Friday afternoon and the collection of work did not disappoint. Viewing the great wave off Kanagawa, I could understand what Van Gogh meant when he said;
these waves are claws, the boat is caught in them, you can feel it”
The fishermen and their boats are dwarfed by this almost tsunami like force of water bearing down on them. It’s not something you get to appreciate until you see the original up close, as so many re interpretations of this iconic image leave them out.
It also made me think about the two other artisans involved and that relationship. To produce the woodblock prints, Hokusai’s illustrations were stuck to wooden blocks that were then carved into the different colour separations for printing. The final work shows their skills as much as the artists.
In a photographic context, Annie Leibovitz or Albert Watson work with teams who create sets, do costumes, makeup, lighting and post production. That’s important to consider when you try setting your goals to match their output but don’t have access to that team. It’s easy to be disheartened if you get sucked into comparisons.
Don’t view that lack of resources just as a limitation, rather it’s an opportunity to learn those aspects and having a hands on understanding of what those people do will develop your understanding of what is possible. It’s also an opportunity to seek out people in those fields for creative collaboration.
It’s also good to look at the work produced without the cadre of assistants and see that the fundamentals of what makes a good image are still present. No amount of additional people will save you from trying to work on a bad idea and subsequently producing a bad image.
Yeah, this is a good trade-off for getting up early to go to work…
An image taken after the recent boot camp session that I kind of forgot about. It’s all about timing as these lanes can be in complete shadow except in the middle of the day. It is really odd that this looks black and white but is pretty much straight out of the camera. I did think about cropping it to get the line coming in from the bottom right corner but I actually like it the way it is.
Watching hot air balloons float past your office window as the sun rises… That’s one good reason to get to work early in Melbourne.
I have limited free time right now so any opportunity to make images is welcome. Fortunately the morning commute delivers those opportunities in abundance. The predawn light is a bonus.
In defiance of the rules of composition I give you “Statue of General Gordon with Seagull”.
Because rules are meant to be broken occasionally…
A lot of the photographic literature suggests the best times of day are the golden hours around sunrise and sunset and while there is certainly some truth in that, life happens 24 hours a day, regardless of how good the light is and limiting yourself to just a few of those hours seems wasteful. Making hard overhead light work requires some different thinking but there is a lot of open shade available so you have options.
With that in mind. I set out yesterday afternoon to explore some of the lanes on Melbourne’s edges. Primarily, a section between Chinatown and Little Bourke Street to Latrobe Street, Between Swanston and Spring Streets. These tend to be less crowded but no less interesting than the more popular, graffiti adorned ones closer in to the city centre like Hosier or AC/DC lanes. Here are some of the results , a mix of details like old signage and small artworks and scenes.
Oh, to make make things more interesting, these are all done with one 40mm lens