Monthly Archives: December 2016

Who Really Made That Photograph? – Part 2 of 2

I drove by the site late one day and took a few photos for my final-stretch planning.  After dinner, when I looked at the photos on my computer, I did a troubled double-take.  In the few days since I got the property owner’s consent, the very tree whose “pose” I intended my wife to imitate had disappeared.

2016_11_25-fairfield-old-field-road-fisty-trees-_f9a2777

Perhaps the owner had thought that the trunk was so close to breaking that it would be a hazard for us.  In fact, on the day of the shoot, as I was setting up, he came out to talk for a couple of minutes and warned me that the trees were not in sound shape and might have to be taken down, so we should be careful.

I have to say that my experience, and my trust in God’s will and the gifts of the Tao, give me decent equanimity about such turns, knowing that however they first appear, they can lead to something better than what I’d planned.  As I believe this one did.

I got the idea that I might also try having my wife kneel in an attitude of prayer or supplication for the photos.  After all, those were not exactly friendly-looking trees in that yard.  Part of my sense of the desired image had to do with the brutish look of those trees, and the brutish nature of our world, which in turn made me think of Moses’ statement that during his exile in the land of Midian he had been “a stranger in a strange land.”  It struck me, looking at the remaining trees, that a kneeling posture would more closely mirror their verticality.

The Unforeseen apparently took this as an invitation to make still further improvements on my scheme.  Not only had I not planned on the alternate pose for my model, but I didn’t anticipate that when we tried the kneeling poses, a wind would rise to blow her hair sideways and to make her move her head and hands a bit during a few exposures, so that.  Seeing them later, I would feel that those effects had given my wife’s appearance an added sense of urgency or distress, which I believed was affecting.

I also didn’t plan or foresee that during the kneeling shots that I liked best (with my wife’s palms turned pleadingly upward and the wind blowing her hair), an intensely-red sky would appear behind her.  Without the emotional and visual force of that sky, my “final” image would not be nearly as compelling as I hope that it is.  Here’s the photograph, “In the Land of Strangers” (please view it at larger size and better visual quality on my website, by using the following link  –  it’s Image # 6 of the “Marion under the Moon” portfolio within the “Fires in the Night” collection):  

http://www.lawrenceruss.com/index/C0000nyIYjBmXbWE/G0000YbrlfdMLgx0/I0000j8_XLqCjgho ) :

in-the-land-of-strangers-lawrence-russ

But there was a still-deeper element to the work of Mystery in making this picture.

While we were engaged in the shoot, I wasn’t consciously thinking about the fact, and my wife did not know, that about three weeks before that I was given news that caused a crisis in my life.  I didn’t want her to have to suffer while awaiting its outcome, so I kept it from her in the meantime.  In such a time, under other circumstances, I would have wanted her to pray for me.

Two days after our photo session, I was able to tell her what had been happening, and that there was no longer anything to worry about.

The next night, as I was intensely engaged in editing the new “Marion” photograph, I realized that by having her adopt the pose that I had, and having shaped the image as I had, I had essentially drawn her into praying for me without her having to know about it or the reasons for it – except insofar as she might have prayed for the success of the photographer’s present, complicated efforts.

And when I consider who and what gave birth to this photograph, I have to remember that part of my idea for “Marion under the Moon” is that each photograph in it should in some way reflect another aspect of my wonderful model-wife.  If she were not as loving and caring, as spiritually profound as she is, would I have made this photograph as it now stands?  Would I have thought to put her in the pose that I did?  Was I unconsciously or half-consciously calling on her prayerful strength without having to disclose my troubles to her?  If none of that had been the case, if she were other than she is, if she were a lesser or different kind of inspiration to me than she is, could I have made this photograph?  I don’t believe so.

And did her posed prayerfulness contribute to the happy conclusion to my trial?  How can I know?  We live among mysteries.  And sometimes we receive help, with our photography and more, without asking for it or even being aware of it.  There are more things and allies in heaven and earth and art, in anything that “we” achieve, than are dreamt of in our philosophy or vanity, Horatio.

 

 

Who Really Made That Photograph? – Part 1 of 2

There is a virtually-unkillable part of us that, when anything we’ve touched is considered successful, wants to proclaim to everyone in earshot (even if that’s only us), “Mine!,” “I did that!”  Especially when we’re feeling shaky about it, we stake such claims in order to argue, “I am valuable,” I am special.”  Almost invariably, that means “I am superior to you.”  Sometimes the “you” is a sibling or fellow photographer, sometimes a fantasized parental ghost, sometimes a distorted idea of someone’s ethnic group.

But we do nothing “by ourselves.”  Certainly not if by “self” we mean only our conscious mind and will.  Certainly not if we mean the Gollum wretch within us, clutching his “precious” ring of power, calling it “Mine!”  Poor, vicious, pitiable Gollum.  So let me acknowledge unaccountable gifts.

In the winter of 2014, I was driving near my home, when my attention was seized by a group of trees in a yard along the street.  I’d never seen trees like those before.  They had fairly slender trunks and were of modest, barely-more-than-human height.  But whether naturally or through cultivation, they were topped with bulbous, bristly knobs of wood, like the bludgeoning ends of maces, or like dark cells corrupted by a virus.  I thought that perhaps they were dead; I certainly didn’t think they’d be growing leaves again.  I immediately thought that I’d like to find some interesting way to photograph them, but I didn’t yet know how.  In the days that followed, I began to have a vague notion of using them in an image for my “Marion under the Moon” series.

In April of 2016, I took a casual shot of them from the street, as a kind of notebook entry:

2016_4_9-southport-fairfield-fisty-trees-on-oldfield-rd-_fpa_1209

To my dismay, though, I soon saw that they’d sprouted leaves!  How dare they?  That didn’t suit my photographic purpose.  Not at all.

As is often the case, though, it may have been for the best that I was forced to wait and let the tea of my imagination steep a bit longer.  Over the summer, my idea for a photograph emerged from the rising mist.  I would use portable flashes to light the trees and Marion, my wife, individually, knocking down the ambient light by speeding up the shutter speed, so that the background would be dark enough to be taken for night, but waiting until the daylight was low enough that I could shoot at a shutter speed below my camera’s synch speed of 1/200th second.  That would give me far more useable flash power than I would get using the flashes’ high speed sync function or my PocketWizards’ (radio flash triggers’) HyperSync.

I thought that I’d have Marion adopt a kind of modern dance pose, with fists raised at differing levels, suggesting both participation and grief in the group of strange, brutish trees.  Her pose would mirror that of the almost-horizontal, second tree from the right in the photo above.  I wondered, though, if she’d be able to hold the pose without falling over.  Well, I figured, we could adjust it as necessary.

Every now and then, I’d drive by to see if the trees had shed their leaves yet.  They certainly hung on stubbornly, long past the time that most trees had already given up their greenery.  Finally, one day on a weekend in November, the trees were bare except for two or three leaves on a couple of their crowns.  Weather predictions had said, however, that snow might fall within a week or two.  So right then, I parked on a side street, walked up to the house’s door, rang the bell a few times.  Finally, to my relief, the owner opened the door.  Thanks to his hospitable nature, I really only had to tell him my name, that I thought his trees were extremely interesting, that I’m an exhibiting photographer, and that I’d be grateful for his permission to set up lights on stands and take some pictures of my wife among the trees whenever the weather and our schedules permitted.  I assured him that I would do no harm to his property.  He said “Alright.”

The next week was Thanksgiving, and when I saw that the one day of the weekend that would be dry and partly sunny would be Sunday, I planned the shoot for that day, knowing that the next weekend after might be too late.  I just hoped that the trees’ owner wasn’t going to have family visiting for the weekend, who might be frolicking in the yard on Sunday afternoon.  Then the unexpected began to have its say again, intruding on my artistic control!

[TO BE CONTINUED!]