An Eye For Photography
Every so often an amateur photographer will write to me with comments on my images or to ask for advice. I enjoy both, even if the comments are negative, because I like to understand what about my images turn people on or off.
In most cases, if my reader includes a website or Flickr account, I check it out. I invariably enjoy the images, which give me insights into the person, his or her likes and dislikes, and their eye for photography. It’s one of the more enjoyable aspects of what I do.
Once in a while I am impressed by a reader’s images and have blogged about that individual’s work. But once in a very, very great while a reader’s images will, quite simply, blow me away.
That was the case a few months back when James Winters commented on my work. We corresponded back and forth for a while and I came to find out that James lives in a geodesic dome in Maine that I actually visited a few times as a starving doctoral student when it was being built by one of my friends back in 1976! How’s that for synchronicity, or whatever you’d call it?
In any event, Jim is fairly new to DSLR photography, but he managed to pick up a Nikon with a couple of lenses. Many of Jim’s images are solidly good, but fairly ordinary, as he is learning to master his hobby. Frankly, a small percentage of his images I would have culled if they were my albums. But then there are images on his site— lots of them— that are so wonderful they grab at your heart. I’ve asked Jim for permission to write about him and to highlight a sampling of his images to show you how they affect me.
First, the gestalt; the cumulative effect of Jim’s work is to show how much family means to him. His shots of people, kids in particular, are fresh, candid and full of life’s magic moments. With eleven (!) children, a wife and tons of friends, Jim has ample subject matter, to be sure. But it’s the joys and disappointments that he captures in everyday moments that makes his work stand apart. If you spend time in his world, and there is abundant opportunity with thousands of images, you gain a sense of his children’s personalities, some impish, some quiet and restrained. You also get a glimpse into the frenetic, loving and creative home that Jim and his wife, Laura, have crafted.
I thought I would comment on each image, relating what I like about each. But as I thought on it, I believe the best way to go is to just post a bunch of Jim’s images and let YOU, my readers, comment first. Then I’ll chime in with my responses. As always, click on an image to enlarge it.
This next one, though, I can’t refrain from commenting on. To me, this is simply an amazing image. Is it the blur of the boy active on the swing? The girl standing and watching, wearing a “traditional” dress. The expression on the face of the girl? But above all, I see a story here, a yearning on my part to know what is going on. Who are they? What is the girl thinking? What is the setting? And that’s the beauty of photography; it is at its best when it tells a story.
When you have the chance, go to: http://vielle.smugmug.com/Family/the-main-folder/5475774_MtSEg#1205479117_Nyg5L and randomly go through his work. If nothing else, Jim’s body of work shows me that one doesn’t have to be a pro to get meaningful, dramatic results, even from life’s everyday moments. Jim does what he does in photography simply for the joy of capturing those special family moments and sharing them with his extended network of friends and family. For that, we are all grateful.
I’ve spoken to Jim often, to encourage him to show his work. I believe that he is a gifted photographer as well as a musican, but his eye is impeccable. Not to go unsaid that his children are a wonder to document. It is all so lovely.
Thanks for backing me up, Michael. He does have a sensitive eye. I’d love to hear him play, too.
Les
For me this is a beautiful real life collection of photographs taken by someone with an enthusiastic love of photography and a love of his subject matter.
Someone who seems to have almost disregarded the theory to take great meaningful images refreshingly enjoyable.
Thanks so much gsd & Michael, I have s beautiful camera body but a minimum of lenses. Les has inspired me now. I also felt inspiration from Sam Abell, his writings. I suddenly wanted to record the life that I see, all the ordinary things, with speed and I think in a way a notable lack of technique. Now I am thinking about what it means to using tools. I never even thought much about the camera before and had little idea of what the secondary buttons did. I also had little real insight into film before all this. I did feel a renewed interest both times after traveling to Newfoundland. I realize that now. Lately I have been fond of a certain little line, I guess in my life, a tiny poem it seems. I must still cling to that vague idea of not thinking too much. It may be time to change. My technique really isn’t sophisticated at this point, but… “to close my eyes and see with my heart.” adapted from a quote by Canadian writer Kerri MacDonald. I just really think about it all.
Sincrely, jw
I have known Jim for several years mostly in his role as a professional musician and have had the opportunity to know and observe this beautiful and wholesome family…a real credit to two wonderful parents. I cannot help but envy Jim’s talent as one of the best musicans I have ever worked with but also his creativity as a photographer who really has “the eye” that creates some most captivating results.
Dear Les, I see your words above. Those are some very precious sentiments. Maybe there is a kind of “integrity” of some sort that is being bumped into. This Les, for others to understand, is a jazz trumpet player I work with rather than the owner of this web site. And for some reason, Les, I am thinking of one time when we traveled back from Oquossoc. Remember the moose in the road that dark night, standing there just staring at your car in the darkness…
And for some reason, I came to this point of wanting remember my own life. I was standing, this past weekend, in a lonely, forgotten graveyard near the Canadian border right near Oquossoc. It just seems like photography is a way to hold on a little longer to a moment, no a life. Maybe a camera is a kind of dream catcher. Oh but, I can work more on my technique, too.
Jim and I have played many “adventures” with my band on wedding receptions and dixieland engagements, and I use him on any other jobs possible.
His photography “emerged” without my knowing it. The first evidence of it I saw was when he sent me photos of a gig we had played. I
I didn’t even know he was shooting during the job!
He has provided me with some wonderfully poignant pictures of me and my musicians, which will be part of my legacy when I am no longer around.
I’ve never met anyone like Jim. He seems totally serene in any environment and any activity. “Effortless” is the way I would describe his work, musically, photographically and in his woodworking.
I took up photography seriously in 1966 and people soon became my obsession. I shot just about all the scenics and objects I could ever want to—but people are the most inspiring subjects of all, and Jim understands this instinctively. I wish he would do a show of his work. It’s that good.
Hal:
Well said. I couldn’t agree more regarding Jim’s photography. I’m looking forward to hearing his music, too.
Les
Hi Les,
I too have corresponded with James on Nikonians, and agree he has a wonderful eye for portrait composition. He’s a natural!
Kathy
Kathy:
So glad you recognized Jim’s uplifting work. I spent some time on your SmugMug account and you have some wonderful work yourself! For anyone reading this reply, do yourself a favor and check out Kathy’s images!
Les
Many thanks for noticing Les!
… You have inspired me, Les, to think more now about technique. I used to sit and first contemplate the scene, and I do that now, just like before. As I almost move to raise the camera I have a notion in mind, and it is so often 3D, this idea; I picture this floating rectangle as I step forward; that’s the picture itself. I tend to zoom with my feet since I use fixed lenses. (And just two of them.) What I did not do is add one more step: to look at it more from a technique standpoint and then step forward. There is an “info” button and I access that, and I even consider the possibility of a filter. Well, I have but one filter. At least, though, I am thinking more now like that.
“The moment” was there, the soul or life of the moment, but a lack of technical thought. The DSLR world of thinking. To swing lower with iso to decrease DOP. To use aperture priority. Or I might try ev bias and see later if I like the histogram being more to one side or just in the middle. It remains true that I love to contemplate people. Then once I step in to take a photo its pace is very quick and seemingly effortless.
People seem interesting much of the time. I had a dream where I go up he coast of Labrador and take pictures of the people there…
Thanks Daniel Stainer. Thanks, Les, and Kathy, for help.
Thank you Les for seeing something in James and his thoughtful work. I agree that he has a sensitive eye, and I am deeply encouraged that he is listening with such passion to all the wise voices around him, and working diligently to refine his technical, artistic and intuitive abilities. Clearly he has a unique vision (which is all his own). It’s just a matter of refining it.
While his current work has many compelling and powerful moments for sure, I can only imagine what Jim W. Musical’s portfolio will look like in 2, 5, or even 10 years. One thing is for certain, and that is, that your post has truly inspired him, so thank you for giving back as teacher and mentor. Moments like these are what shape and define an artist.
~Daniel
Daniel:
Thanks for your comment and also for working with Jim, who is truly an exceptional guy. I visited your website and was so impressed with your body of work. Would love to work with you at some point. For any of you reading this, please visit Daniel’s site:
http://www.danielstainer.com
Les
[...] Life is a rich stew of pain, pleasures, new discoveries and chance meetings. I’m waxing philosophical here because of my Internet friendship with James Winters, a professional musician and amateur photographer, who comments frequently here on my blog site. I’ve written about James’ heart-felt photography before (http://blog.lesterpickerphoto.com/2011/03/31/an-eye-for-photography/). [...]
I first noticed Jim’s work in the online assignment forum in Nikonians. I was immediateley drawn to his images, the tipi, his daughter and the way he recorded everyday life impressed me. Nice to see him get encouragemnt and advice, I see many more good things too come from the camera of “musical”.
Sue
Les,
Thanks for posting.
I believe anyone can learn how to work their camera technically with practice and persistence. Having an inner vision and being able to capture emotion and stir the soul is much rarer. This is not as easily learned.
To John above, this was a sweet thought and thanks. I was made aware of your post via an email subscription. I thank you. Everything technical is a new world of thinking. A more expensive camera (dslr), the newer one I have, but no zoom lens. Oh, that’s fine. I’m thinking sort of the infrastructure each photo now. I’m asking myself “why”, with its technical details, each picture I do. Could I do it in full manual… I consider the glass and its distortion. I had put off “speaking camera” for so long. There are physics that tie up a photographer. A painter, by contrast, can ignore all the physical laws if they wish. I’ve been doing glass reflections a little bit more, even with myself dimly reflected as I photograph the person, with both of us in the picture but neither one of us clear. Thanks for your very encouraging comments, jw
James,
You’re welcome. I have been challenging myself lately to walk around in manual mode with a prime lens.(still use autofocus) I think going slowly and really grasping a concept is better then trying to master everything all in at once.
For instance, understand DOF and bokeh and just keep camera in aperture priority for a while to see how that helps with your vision and images. Then just shoot shutter priority. Don’t try to master the white balance, focus priority system, auto iso, RAW conversion, etc. Don’t worry about the gear and what others use. Each of us see’s the world differently and you may think a great walk around lens is a wide angle while I prefer a tele-zoom. It can get overwhelming and interfere with the main creative goal. Having just 2 prime lenses to produce your images is not a handicap it may even be the reverse. I have a bunch of lenses and sometimes I get anxiety about which to choose. Keep shooting and enjoy.
Thank you, John. I do agree with you. A note like yours above, I print out, and I have this notebook binder. Just to be peculiar it’s pink, fake alligator skin; the notebook. And in it are photographic sort of micro lessons. Les’ notes are there. Daniel’s.
It’s funny, I had this bad dream once. I dreamt that I inherited a fortune and I suddenly had every lens imaginable, like maybe 20 of them. Then, I could even take one good picture. Just too much too soon. Too many directions at once. You’re saying to, well sort of, don’t over analyse and to not just over worry into discouragement.
I hear you… yes; yes.
hiya hiya….
jim told me about this site over a month ago…and here i am…i have not been “connected” much lately…as some friends of mine would say….i have been on the innernet…meeting by chance…hhhmmm…i always wonder…my friend cristy and i met the winters last summer in maine…and it is now hard to imagine not having done so…i thought i was back in the 60s with the hog farm….i saw some of jim’s images then and commented immediately about his eye…something that i don’t do very often…i remember a professor once saying to stay away from kids and animals and sunsets etc etc…which seems as silly as debating about equipment endlessly…i mean, take away kids and animals at the winters’ stead and what is left? i also remember another prof saying that the camera sees more than the mind knows…it took me awhile to really understand that…sometimes looking over contacts something would jump out that i had not registered…jim, i do think that photos preserve and possibly protect…but there is more too…the subconscious is a constant companion that reminds me of that old talking heads song…water flowing underground…
back again…i was not sure how many characters i had to play with…to see the positive in the sheer numbers (volumnosity?) of images created by 0 and 1 …i think that it is even more opportunity to mine ore for the unconscious…and “snapshot” could take on another meaning…i visited goddard space flight center yesterday and after a long conversation with the project chief of a future satellite mission, i thought a lot about our looking for ourselves somewhere in that data domain…i know that i see jim even where he is not in the pictures…but i see myself too…jim imbues light writing with his beautiful humanity that i am so thankful for…and when he plays the trombone, i can even close my eyes and smile…so, thanks jim for everything and thank you les for allowing me to see your images as well…it occurs to me that one of my favorite photographers…gene smith…had that same quality (i believe) of essential humaness and connection that jim has…there is a poem that makes me think about all this….if anyone knows the author let me know…
all things
connected are
pluck a flower
disturb a star
These words above, kind, helpful. Music, photography. 463 miles driven since yesterday, alone. Noon today at bridge beyond Allagash, there where the river ice kidnapped the old bridge ten years ago, they tell me, and sent it down the river.
I see wilderness and think of Les. I wonder how his eye would see things.
There is this pink, old house, after St. Fransis the village, and there it was was in the Sunday morning rain with a beaver in the front yard seeming to stand watch. Then a house on fire, which they said was a planned burn. I stopped of course, took a picture.
Then a lady who would not let me take her picture. Yet she and I talked for an hour. And she says all the kids that grow up there move way from Allagash, a little village at the very top on Maine.
Now here I am back with my own beloved family this evening. I feel so motivated to record things that I love in snapshots. I’m not that good, or I don’t even know. But to think that “it” needs to be remembered and really notice. To take pictures is to actually dream.
Jim, you just did some photos of our band, at a gig.
You were so discreet, I never felt the eye of the camera (a good thing, I would have frozen!). You were kind enough to actually comment on our music, and that made me feel really good. Somebody had actually listened!
And then, we received your photos. They captured mood, and atmosphere, and almost made you hear the music. Each photo showed the personality of the player it focused on. You got our number Jim!
Thank you,
Rae
I wonder if there is, this kind of zen. I try to dream that I can be there but not seen.
It’s a bit of a challenge; to walk in and stand in front of everyone, holding this large camera and yet not “seen.” This gets toward the more esoteric side of things. I’m thinking all about technique, sure, but that dream-like quality is the opposite. As a picture taker I’m a kind of thief maybe. I’m there to steal a wisp or bit of something that’s already going on. It didn’t need me. I’m hoping that the people will figure, “oh he seems harmless.” Their first thought is surely, “hmm, that’s weird. Wonder why he’s here with a camera.”
Then if all goes well, they just shrug it off.
Sometimes I tell people with a laugh, “oh I’m sorry, I just got this camera for my birthday. I have no idea” They laugh a little and figure, “oh well.”
Music is of course a performance art. A moment; a kind of Ether. I suppose the question becomes, what can depict that essence. I get caught up in doing low-key photos. Much quieter ones.
Thank you Rae for allowing me in to your world, of sound and of musical dreams.
jw
Reading Jim Winters’latest post struck very responsive chords with me. High school and college sports, especially basketball, track, baseball and softball,tennis, and once a year for many years the annual cheering competitions.
Time was when I truly seemed “ïnvisible” and often parents who were in the audience would come up to me after the event and ask if I would send them copies of any photos I had taken of their son or daughter. Whebnever possible, I would oblige at no charge. For me, sports photography sharpened my skills for anticipating when an exceptional photo might be taken. You have to know the sport to do this—so I was always “guessing”what might happen and it paid off at least half the time. Then a few years ago I was approached several times by school officials who questioned my reasons for being there. After this happened for the third or fourth time I said “that’s it” and I have not done any sports photography since 2006. I don’t miss it that much but I have always felt my motives were being judged unfairly. All part of the PC attitude I suppose, as well as some legitimate concerns about the students’safety. I always had photgrapher’s credentials and they were never denied me but it was when I lost my “invisibility” that the joy went out of it. I couldn’t prepare myself without wondering who was watching me and that’s a very bad feeling. I LOVE candids, though for a number of years I would do what I called candid portraiture after asking the individual if I could photograph her or him using a long lense so that the subject would not feel that “personal” space was being invaded. I NEVER asked if I could “TAKE” his or her picture because I feel that “TAKE” is a threatening, invasive term. I always asked, “Would you allow me to photograph you” or some variation of that. I think I learned that from many years ago when I read that most American Indians used to be afraid that to be photographed was to have their soul stolen. Whatever…it worked for me. So my days as a “sniper” photographer are over. Too bad. I have some wonderful shots from the days when I could shoot freely without tension. My camera is on the shelf and I don’t know whether I will pick it up again or not. Right now I don’t even want to.
Hal:
I’m so sorry that your camera is on the shelf due to this crazy, litigious world. I, too, am very leery of photographing children. Having said that, I find that a few minutes conversation with the parent(s) overcomes their fear and they usually give me the go-ahead (as a pro I have to get them to sign a release form, too). Please try that. It sounds like you enjoy photography too much to let this get the better of you.
Hal,
I am fairly new to this game. The things I like about people photography is that I have a lot of fear to overcome and its exhilarating when I do.
I have 2 girls aged 9 and 11 so its pretty easy to get sports shots or recital shots of them or other kids, without people thinking I have ill intentions.
Traveling and on the street I have developed a couple techniques. First I will not point a camera in someones face without asking permission for a shot. Thanks Les, this was one of the first things you taught me.
I usually get this by engaging someone in conversation first and after that it’s much easier. I have even forgotten at times to get a picture after meeting a stranger because I got carried away with the conversation . As a non-pro this is no big deal because I think people skills are probably more important than camera skills as the latter can readily be learned.
The key for me is to be comfortable with my camera. I have recently purchased a Black Rapid starp which lets my camera hang by side in an inconspicuos way and when I’m ready for a shot I could do it quickly. I think somehow I bought into the cool look of this and wheather it’s a great strap or not became irrelevant because it helps me feel like the camera belongs on my shoulder. When I am comfortable wearing a camera than others seem to be as well.
It’s important to hone my technique and be able to compose and shoot quickly.
I miss many shots of interesting people because of my fear but I do catch some when I overcome it.
I often start by taking pictures of architecture or general surroundings while figuring out a good composition. People are sometimes curious as to what I am doing and I often engage them in conversation and get a portrait out of it. I have sent many strangers pictures via emails. Getting positve feedback from them really helps my photographic ego.
If a scene is interesting I may sometimes wait for a person to enter the scene and shoot without their permission in a candid way, but it’s usually not a real portrait and the person may not even be recognizable. I figure I was already their first shooting and they just walked into it. I am not a pro and do not get releases. I have never had anyone complain about a shot and in these cases they may not be aware they were in it.This may seem a little sneaky, but with my big DSLR I’m not shooting from the hip or hiding and do not feel that I am really invading someones privacy.
Anyway I think you should take your camera off the shelf and try not to worry too much what everyone thinks. Often I find it is my one fear of what others think that holds me back rather than others thoughts, which usually you will never really know.
to Hal,
“But if my silence made you leave
Then that would be my worst mistake
So I will share this room with you
And you can have this heart to break”
We put our hearts into our attempt at artwork, each time.
Every time I pick up my camera or my instrument,
I can hardly believe I have the courage to try it again.
“And every time I’ve held a rose
It seems I only felt the thorns
And so it goes, and so it goes
And so will all of us soon, I suppose.”
A friend hug to you, Hal;
you’re camera is still right there…
jw
hal’s story made me think about something that happened to me…i was at a washington nationals baseball game in dc…afterwards they had this great program that allowed kids to run around the bases…it was so incredible to see…smiles were everywhere…i started wishing that i could have done that as a kid, but had never heard of such a thing…i wanted to do it too then and there, but fought it off mightily…then i decided to go down near the field and cheer on all the kids…which i did until i was asked if i had a child on the field…i said no and that i loved that the kids could run the bases…i was asked to leave…i was really hurt…i understood, but was crestfallen…it still is hard for me to think about…i realize that these kind of things are meant to protect children because of the kind of world it is…so i should not take it personally…easier said than done…hal…it wasn’t exactly “our” motives that were being judged, it was about the “way of the world”…still when i see the kids cruising the bases i get a twinge of sadness about that way and don’t walk closer to the field…i am still known to play ball with kids when the situation is right…i hope hal that you do get that old spirit back…there are so many “right situations”
I was driving yesterday and I came up with a phrase. Let me digress first and say that I am part of a big family. Ok well, I have eleven children. I live in a varied, sometimes turbulent, landscape emotionally. Various events, conflicts, stages of life, commotion. In the middle of it all, I am trying to be “an artist.”
Ok, so the phrase I came up with was: “artistic fragility syndrome.” So, I was thinking of how and artist might loose all confidence. Hal W. described that here in this thread. I have felt it, too.
In my life, I even quit all photography for several years once. It takes some nerve to be an artist. That very craziness does help it all along, but once I threw some poems away. My own. There was one about Labrador and I can’t rewrite it; I can’t remember it.
I’m not sure of what I am trying to say. To believe in one’s mission a bit. Hal W was questioned “who are you and why are you here with a camera” and he said he gave up. I do understand. I do. Art celebrates or remembers life, though. Whether it’s landscape or a person… It’s not a bad thing to try and create an image of the world around us, photographically.
“To believe in one’s mission a bit.” So true, Jim. Profound and true. Despite the setbacks, the naysayers, the envious, the financial hardships, the self-doubts, “… to believe in one’s mission.” Yes, that’s what keeps us going.
Les
I appreciate you, les. I didn’t answer as much of your emails since the fall. You asked how my school was going. Life is good of course– to be alive. Your kind words about my “work” (my not-work so far) got me to thinking about all this. I have had the first two photography classes ever in my life this last week. I had no idea. I never had thought about it like this.
Our teacher talked of not relying on gimmicks. He talks of symmetry, bilateral & radial. Of geometry. Of the strength of a triangle. Of an inner or inside matt sort of. Of captions; of how he wants our journal to be made. Of how people pictures come down to one person and one problem. Of the emotion of color. And of working through ideas, not grabbing merely a single picture and leaving. He asked us what anthropomorphism is. He mentions a fifth dimension, that of “imagination.” He said that he was first teaching this very course in 1972 and now all the way until today. Imagine that. It’s all at UMO of course, here in Maine. You’ll recall the river in town. On side on the left is solid froze, the other side is 1/2.
I wanted to include all this here, and to say how your blog got me thinking about my small photographic life.
Sincerely, from north-central Maine, and 4 degrees out as I write.
James:
You never cease to amaze me. You think in such rich and deep ways. I think it’s great that you are taking these classes, but P-L-E-A-S-E do not let those relatively petty details get in the way of your inner creativity. What I love about your work is how you see the world in such fresh ways. I see your musical passion, your love of your wife and children, your trying to express the mysteries of nature through the camera. Just keep doing that and you’ll be just fine. My thoughts, anyway. BTW, I’ll soon be in Finland and I’ll be happy to have a 4-degree day. In Lapland it gets down to 50-below.
Also, I’m teaching a Nikonians workshop next October in Acadia. If you or anyone you know might like to take it, give them a heads-up. Go to this site for more info: http://www.nikoniansacademy.com/all/viewWorkshop.html?workshop_id=107
Best wishes,
Les
Hi, and thanks. I’ll try. Maybe it’s good to be different? So much of what I see is in the gaze of people around me. There’s some sort of intersect point between soul and the world in the eyes and faces of a people. I see a hundred different things as someone looks at me just after I hear myself sheepishly ask “do you might if just take one picture of you?” I have this plaintiff tone and they seem to say, “well, ok, I guess so.” Then the moment is there, and it’s gone, and maybe the second hand on a clock somewhere stopped moving. It feels that way. We’re on this spinning globe, hurling through space, fired by basically a bomb that we affectionately call the sun. Then, it all stops for let’s say 1/125th of a second. The whole thing. It seems like all this what photographers wonder about. “What are we otherwise not seeing,” we think, “that is right in front of us?”… I still can hardly believe that photography even exists; time stands down at our command.
Well, I am getting too etherial, huh. I appreciate your blog, thank you. It’s a little self indulgent probably to write so much (no need to respond, its’ only me
But, if you answer (and with endless patience you always do) I’ll “chill” for awhile. Oh, I’m no writer. I do need to photograph each day, not merely type so much (indoors where it is warm), and do my music (work/practice, routines), and real-life things, too, (just cleaning forever with all the kids & dogs under foot).
As for music & photography coalesced? Maybe there is cadence and rhythm to things depicted in two dimensions. Hard to say for sure, huh. In music, there is this idea of stating ideas (content) without too much collision of unrelated ideas. There would be no way to play your highest note and your lowest note all at the same time. No way to play fast and slow all at once. Have I ranted on and on too much?
It’s up to maybe 4 degrees now this morning. I forwarded your Acadia brochure (on the web) to someone here. I live so day-to-day that I hardly know? I just know that we’ll have a coffee together and meet, though, as a minimum. Acadia is mood beyond… The gnarly, short trees and fog, and so on.
With this I end; yours always, jw
“Happy Feb. 29th,” Les. It’s leap year.
Appreciate you and all the moral support in the past year.
All is well with school and my one photograpbhy course.
james
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