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Tuesday, January 28, 2014

The Art Of Vision

Learn to connect with the landscape like the great masters Ansel Adams, Minor White, Philip Hyde and others

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Chinn, who was known for photographing the streets of San Francisco's Chinatown and of Paris, said that the "quiet mind" was responsible for much of his success in capturing people and other moving events. He said that one of his mentors and a guest lecturer at the California School of Fine Arts, Imogen Cunningham, had made herself available for photo walks during photography school. When White came to the right place in the curriculum, Cunningham took the students out for one- or two-hour walks to show them what they would have missed—and they missed a lot at first—but as their seeing strengthened over time, their images improved, and they missed less and less.

This is the art of seeing in photography, pirouetting in dance or leaping in high-jump competition. It's the main event in any endeavor where results improve with concentration. Photographers who are in a heightened space for seeing don't miss anything in any direction. Furthermore, the mystical mind can lead not only to a transcendent awareness of nature, but of our own connection to it, which then becomes evident in our art. "In my opinion," Zrnich said, "any art that moves people has to have a spiritual dimension. The process is about getting out of my own way and quieting the ego."

Ardis, David and Philip Hyde in Waterpocket Fold, Capitol Reef National Park, Utah, 1970. David, age 5, with an old camera. Philip gave David a working Pentax K1000 five years later when David was age 10. David was active off and on, sometimes going whole decades without making a photograph, until 2009 when he bought a Nikon D90 DSLR. Drawn in by the ease of making good images digitally, in the last four years, David has made over 30,000 exposures of landscapes, streets, people, architecture and wildlife.


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