Absence

Every month I sit down to write my blog. Many times, I already have an idea in my head that has been percolating long enough for the words to flow quickly and easily. Then, there are the times when I struggle and feel like I’m struggling to find or settle on something, often at the very edge of the month (my deadline). Last week I was given a word … absence. I wrote that word and some additional ones that seemed to have a connection to “absence” and to photography. I thought they would be great “sparks” to ignite my writing. In some ways they are; and, yet, nothing happened—no words, phrases, sentences or paragraphs emerged over the last week. My notebook, where I hand write everything first, has been devoid or absent of any marks until now. That’s only because I have one more day to write before I am “late” and miss my end of the month musings to share.

To keep things simple, I’ll define absence as “missing or not present.” It will give me some leeway as I explore a few ideas that have come late in the day relative to this concept in general and as it relates to photography, life and creativity. Sometimes we are missing inspiration and ideas, whether for writing, photography or even for how we might fill our day. When those times come, it’s easy to be discouraged and give up – at least temporarily – because it’s frustrating when things don’t move smoothly or as we “expect” them to. It then becomes easier to sit around and stew, or scroll—to waste time, sometimes way more than we realize. I know. I’ve done it (kind of like emotional eating). I’m pretty sure I’m not the only one.

However, going into the mindless zone is not productive on any level. We are better off going outside and taking a walk. The exercise and nature provide a good opportunity to do something healthy and also allows us to clear our heads. Not surprising, doing this can provide the breaks we need for inspiration to creep in—and it does. While there was no walk for me today, reading a book by Torsten Andreas Hoffmann, Photography as Meditation, opened the door and helped me look at the words I had written a week ago with new eyes. For this discussion, I have settled on Absence as it relates to Space, Color and Context. Keeping to these three areas will help me (and you) consider the concept more closely and, perhaps, differently within photography and beyond.

Sunset absent of “cloud drama”

ABSENCE AND SPACE

As visual artists, whether photographers or painters, we have a canvas. It has a shape and size that we determine either before or after creating an image. It is an empty box, and our job is to fill it however we wish according to our vision. How we use the space we are given determines the outcome (as well as how we use our cameras). We can “fill the frame” with our subjects or we can include very little of any subject in the frame and make the “negative space” speak more powerfully. This approach emphasizes the concept of absence.

If we want to create tension, we can jam our subjects in the box and provide no breathing room. Over twenty years ago during an image review of slides with Nancy Rotenberg and her husband, Michael Lustbader, I was given some feedback from Michael that I still remember (and hear). He told me I had a good eye, that my exposures were good, but, in a very high-pitched voice, my compositions “are so tight!” It was the best thing I could have been told. He was right. I was not allowing my subject’s proverbial shoulders to drop. I was creating unintended tension by overutilizing the space I was given. Leaving room for your subjects to breathe is important. I may not always succeed in the field, but I am mindful of the space I use and work to leave enough of it empty. When I do miss the mark, I “crop like I mean it,” so that the final image is intentional.

Using all the space in the frame.

Leaving “enough” space

Leaving enough space ahead of your subject also matters. It is often referred to as giving your subject “room to move.” Leave too little room and your person or bird or bear hits the edge of the frame too quickly and awkwardly, making the viewer wish for something different. Yes, you can “add canvas” to an image after the fact to create that needed space, but why not consider doing it and making it happen in the field.

Want or need more empty space, absent of “stuff?” Empty out the frame. Make use of negative space to complete your visual thoughts. Leave the space around your subject empty or absent of stuff. It can make your subject stand out and the space itself can also be the subject. Using negative space is a compositional technique that offers opportunities to create simple images with strong emotional impact. When you see or create them, you actually appreciate what is missing. Our mind often fills in the blanks. Simplicity can speak volumes in its quietness.

So, absence of “stuff,” and thinking about removing elements within a frame that don’t belong will help you create stronger images. Remove what doesn’t add to why you stopped to shoot in the first place; clear the clutter and give your subjects the room needed for them to be clear and effective. We don’t need to reduce everything to bare bones or minimalism (though that is another option). We just need to allow the distractions to be absent or missing. Try it, and see what happens!

Room to Ride …

Simple color and space

ABSENCE AND COLOR

We live in a world filled with color. As a lover of nature, in general, but more specifically, flowers, I love color. I cannot imagine living in a monochrome world. How would I survive without purple? That said, for the longest time I could not conceive of images without color. “Seeing in black and white” was a foreign language to me. I saw the images and appreciated the impact, but did not understand how to get from color to black and white did not have a viable path for me to follow. Did I appreciate and enjoy black and white images? Of course. Did I set out to try black and white? Well, once. One time in the days of film, I took a class on black and white photography. It involved learning the basics, buying a red filter and a few rolls of film. I went out and exposed the film, developed it in the dark room and made a few prints. I still have them.

When I switched to digital in 2005, I tried again to shoot with black/white in mind. I set my camera to monochrome mode, saw the black/white images on the back of my camera and thought, “cool.” When I got back to the computer, the coolness went MIA because I was shooting in raw format. Images I knew and remembered shooting in monochrome were now color! What? Yup. What I didn’t realize at the time was that if I had set the camera capture mode to “raw + jpg,” I would have seen the raw image in color and the jpg image in black/white. Perhaps, then, I would have developed more enthusiasm.

Removing color from the world makes us see deeper into the essence of things.

–Rob Sheppard

It is the absence of color and simplicity that allows the art deco pier on Jekyll Island to shine.

It wasn’t until I was introduced to infrared photography by Mark Hilliard that my mantra, “Color Reigns Supreme,” changed. I still am and always will be in love with color, but now, because of infrared, I can “see” in black/white even without the aid of the monochrome mode in the camera. How? Why? Well, my first infrared camera was a Nikon D90 converted to 590nm, a wavelength that is a blend of visible and infrared light. It allows me to play with false color but also create strong black/white images. The thing is that when I took it out in the field to shoot, what I saw on the LCD had no color. In fact, it reminded me of a negative. Color – real color – was completely absent and stripped from the image. What I saw were the bones and structure, the shadows and light and texture. That, and the contrast was all that remained. Because of infrared, I began to understand how to look at a scene or subject and know whether it would be a good candidate for black/white.

As we know, there is a time for everything – a time for color to shine and a time for it to disappear. As much as I love color, there are times when it is simply a distraction for a subject and takes away the power or impact of an image. The absence of color simplifies and highlights what matters to you as the photographer. That said, simply stripping color from an image by way of desaturation is not the best method for creating a monochrome image with impact. From my experience, and as of this writing, Nik Silver Efex Pro by DxO is the leader in black/white conversions. I use it with my color and infrared images as the final phase of my post processing. Are there other programs and methods? Absolutely. This, however is my tool of choice because it works for me.

West Virginia Barns in Infrared – 590nm

Fern in Infrared – 850nm

“What Remains” in Infrared – 590nm

Do all color images look good in black/white? Nope. You are the one to make that determination. However, keep in mind that light, shadow, texture, contrast, form and composition are the presiding elements for monochrome. Each of these are important, but perhaps contrast and composition weigh more heavily. A poor composition will never be saved by converting an image to black/white. Tonality, as well, is important. Subtle changes in the gray tones can add depth. Will setting your camera to monochrome mode help you see the range of black, white and gray? Yes, but not through to the final result. It can help you see what will work and what may not. Not all color images translate well to black/white interpretation.

If you haven’t tested the waters of the black/white world, give it a whirl. You may be as surprised as I was (once I learned to see differently) how different the world can look when color goes missing. And, by the way, infrared loves the contrast that can make color photography nearly impossible when trying to focus on the larger scenes. If all you have is a color camera, and the light is too contrasty, focus on the smaller scenes and subjects.

The Fading Sunflower in Color, by choice.

Finger Lakes Barn Detail in Color (would also work well in black/white)

ABSENCE AND CONTEXT

There are times when we need a little context in order to understand or relate to an image or piece of artwork. Consider the idea of creating a sense of place, a point of reference or perspective. We may feel that we, as the viewer, need more information. What is happening? Where is this? Why this image? What is the relationship between the subjects? Another question to ask might be, do we need to know everything? The truth is, we never really do. I think we just need to know “enough,” and that can vary from person to person. I remember David DuChemin talking about how we make and view images and the questions we might ask. The one that resonated with me most was not “what is this image of,” but “what Is it about?” Is it about the light, the color, line, the place, a relationship, and so on? Whatever your intention is as to the “about” of an image, that’s what the image needs to convey. Does everyone have to understand or like it? No, they don’t. Sometimes, we have to remind ourselves sometimes that we don’t always like or understand the work created by other artists. We need to be okay with that. For me, I believe the fair assessment is that, like it or not, I ought to be able to appreciate the effort, the work and the courage of the artist to share it.

The automatic associations we make between objects and our words for them diminish our potential for an honest experience interacting with that object.

— Torsten Andreas Hoffmann

Color and texture on tracks

Visit your local or regional museum of art, and you’ll understand this more. I have been inspired and have seen and learned something about an artist, and it has shown up in my work. It has for me, and it will for you, too. Consider abstracts. I know of no other area of photography and art, in general, where context being present matters the least Most often, abstracts are fully absent of contextual references. I’m currently in the middle of leading an online mini workshop, Exploring Abstracts. I’ve shared some history of abstract art and photography with my group along with examples of my own abstract photography to provide inspiration for creating their own. When you see the range of interpretive art that provides little to no context and yet still evokes an emotional response, you understand more that not every image requires explanation. What abstracts may lack in context is made up for with a new and different way of seeing and capturing the ordinary in an unexpected way. When viewing or creating abstracts, the best thing you can do is empty yourself of preconceived notions and expectations.

Open your mind to whatever presents itself. Go slow, and keep your eyes open to whatever is before you. Let nothing be “just a ‘blank’” or say to yourself, “it’s only a ‘blank’ Be asking yourself, “what else do I see? Is there more? (The answer is always ‘yes.”) Do this, and it is possible that you might see something that reminds you of a Georgia O’Keeffe landscape in a stone walkway! Of course, it helps if you continually fill your inspiration tank with art of all kinds, not just what you like or understand …

Reminiscent of a Georgia O’Keeffe mesa landscape

The stone walkway that held the landscape under our feet

When you do explore, don’t be surprised when the “more” you see reminds you of something, even if you can’t put your finger on it. Context can matter, but absence of it does not negate the value of your vision. There is a time and place for everything. Be aware, be mindful, and be intentional

Peeking through the leaf of a banana plant

Flamingo feather abstract

FINAL THOUGHTS ON ABSENCE

Well, so much for wondering if I would have anything to offer for the end of July. I was absent and empty of inspiration—or so I thought. This blog began with one word—absence—on a small notebook page, followed by a few more words, but seemingly no direction. Sometimes, we just need to start. We need to sit down and get started, no matter what it is. Me? I needed to sit down and start writing and stop worrying about whether the effort would be fruitful.

If you’re thinking similar thoughts about your photography, stop thinking. Pick up your camera and start shooting—not for any predetermined result, but simply to begin, to do and to be engaged again. I’m sure you can come up with reasons (excuses) for why it just won’t work. You are right if you listen to and believe those excuses. We always are. Box them up and throw them in the trash. Give yourself fifteen minutes. Start pressing the shutter. Stop judging. I am fairly certain that something will shake loose. It did for me. It can for you. Need a few ideas to ponder? Consider “absence” in space, color and context. It’s a place to start, not a place to stall. If you don’t take that first step …

Making abstract from art with multiple exposure

Abstract in an elephant ear