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THE ARCANE MACHINE – new book of photographs by L. Russ

Covers of THE ARCANE MACHINE, photographs by Lawrence Russ

Covers of THE ARCANE MACHINE, photographs by Lawrence Russ

 

What follows is the preface of a book that I’ve just had printed, featuring a fifteen-image photographic poem of mine, The Arcane Machine.  The book is 10×10″, 34-pages long, including this preface, the photographs (with their titles on facing pages), and bio notes.  It has a matte hard cover, and it can be ordered through my photography website, http://www.lawrenceruss.com , by “ordering” the last image (which is of the book’s covers) in the Portfolio named (you guessed it) The Arcane Machine.  (The portfolio on the website contains only a selection from the images in the book.)

ABOUT THE ARCANE MACHINE

I’d be lying if I said that I came up with some idea for this portfolio. The machine in the title of this book was once used for hauling boats out of the water at a tiny boatyard with a single dock.  I’d photographed the machine before and seen it many times.  But until this summer, most of the machine, including its motor, had been covered with a large sheet of canvas.  One day in July, I went to the boatyard with no artistic purpose in mind.  Still, when I saw the whole machine uncovered for the first time, with its intricate, archaic motor, I was intrigued.  Before I had any conscious thought of it, this series had begun, almost of its own accord.

I didn’t spend much time at the yard that day, but before I left I snapped a few full-length and side-view shots of the machine in daylight. When I viewed the digital files that night, the images were dull, but I thought, Hmmm, let’s see what might come if I light the machine with flashes.  I returned with more gear:  a Canon 5d Mark II with a 17-40mm lens, a Canon 5d Mark III with a 70-200mm lens, five Speedlite flashes with PocketWizard radio triggers, a few short light stands, some flash modifiers.  My interest in the subject grew as I saw, moment-by-moment, what resulted and what might be possible, as I stood, sat, lay, or crouched (getting a bit nauseated from my cramped contortions), taking photos a few inches or feet from the machine.

What you see in this book isn’t what you could have seen with just the human eye in natural light. For example: without a wide-angle lens and the upward angle at which I aimed it, only a foot from the subject, the cover photo of this book would not have had the sense of space and size, of an expanding “universe,” that I believe it evokes.  Without using flashes to light the machine, you’d see only a small fraction of the color and texture that the flashes revealed.  The flashes also made minuscule specular highlights, which I’ve mostly left, like little stars.

 

The Arcane Machine - Verse 7

The Arcane Machine – Verse 7

What matters most, though, is the end result — the experience that these photographs create in you.

Too often, we say things like “just a machine” or “just a dumb animal” or “just an ordinary man.” Too often, we think only “beautiful things” are beautiful.  In thinking such things, we can make ourselves bored, disappointed, prideful, even dangerous.  For me, this broken-down, corroded, obsolescent machine proved an inspiration.  The images that grew from it partake of the machine’s components, the components of my past and my psyche, an array of texture and color and shapes, an atmosphere of shadow and silence, and who knows what else from art history, outer space, or the spirit — and now, from whatever gifts you bring to these images, whatever they give back to you.

The Arcane Machine - Verse 4

The Arcane Machine – Verse 4

 

Summoning the Genie’s Power – Post 2

"Ocelot Dream" Lawrence Russ

Shadows or darkness, fog or cloud, curving shapes, blurred or fantastical objects.  Why should photographs with elements like these help to bring on that state of deep calm and heightened sensitivity that makes the Muse more inclined to visit?

I think it’s partly because they mirror conditions and circumstances outside the artwork that bring us to the border of our deliberating, daylight minds:  walking through the streets at night or through woods in deep shadow, letting our sight and hearing absorb whatever comes in our solitary quiet; or lying drowsy in our darkened bedroom, drifting into daydreams or sleep.  Art is one way that we can see what lies beyond the flashlight’s beam, reach into that invisible or half-visible place where so much is born and so much is decided.

Research has shown that people who make an effort to remember their dreams right after waking, especially if they try to write them down, will remember their dreams more often, and will remember more of what happened in them.  But we don’t need scientists to prove to us that doing a thing repeatedly makes us able to do it more readily or easily; that muscles and memory — and, I believe, intuition and imagination — grow stronger the more they’re used.

I believe that this is also true for repeatedly visiting, experiencing, giving yourself to the kinds of art that carry us into those mysteries of the unconscious or whatever we might better call it.  In Norse mythology, the king of the gods, Odin, who had the gifts of vision and poetry, rode a magic eight-legged horse. That steed, Sleipnir, could carry him across the borders between the various realms, of gods and frost giants and fire demons and the dead.  As with anything else, the more we ride that border-crossing horse, the better we ride it, and the more swiftly and farther it’s likely to take us.

And why do I care so much, why should you care about riding across those borders?  Because that place across the shadowy bridge is where we can discover our greater selves, our greater lives.  After all, what do we think those gifts and treasures in the folk tales are all about?  Over there, in the forest of intuition, in the scenes of paintings, in our dreams, is the place where the mythical creatures live and act out our battles with each other and with monsters and tyrants.  If we see the vampire or the Cyclops clearly “over there,” we may recognize them in our “daily life” (we’ve all met them) and may be more likely to escape the temptations and dangers that they bring.  In that place (though, of course, it isn’t exactly a place) is the soil in which our most powerful fears and desires, our most glorious insights and revelations are rooted.  It’s the universe, the universe that stretches out from where we stand, from the little place of our planning and striving.

(If you click on the image below, you may even be able to see the plane’s noselight a little.)

"The Lesser Light and the Greater Light" Lawrence Russ