WORKOUT SESSION: DON'T SHOOT OR I'LL MOVE!
Out here in the vast, thinly oxygenated Photo Assignment wilderness, we often toss off our heavy backpacks to rest on fallen logs, catch our breath, and down a Snickers or two. We ramble, consider state of mind, often touching on stillness of soul, negation of self-chatter, being here now, and the holy grail-ish ability to see through things rather than merely look at them. We work at making our inner landscape as real as the outer, overlaying and informing the stuff we lay eyes on. We practice the art of seeing until it transforms into the seeing of art and over time we discover that the underlying theme of our entire personal universe is nothing but wall-to-wall astonishment.
And where we're going there are no walls.
Creating photographs from a zone of stillness is a sort of zen koan. It doesn't make sense until it does. It's like a 6th or 7th sense, in a way. Nothing happens and then... a flash of lightning, an insight, a connection to something other... the shutter releases itself and an image is made that somehow captures the wonder of our multi-dimensional existence onto a 2-d canvas made up of tiny electronic pixels. It's as if we slip forward in time a fraction of a second (or more) and become aware of an event or an action just before it happens. It's weird, it's magic, or should be if it isn't.
Of course, a pint of Guinness has exactly the same effect, but the downside is that all those brilliant insights are invariably forgotten in the morning. Even the notes we scribbled carefully on the napkin are incomprehensible. Still, it's a pint of Guinness.
There's a purpose to this preamble - to grapple with the paradox of capturing movement. We'll adopt a two-pronged approach for the next two weeks as we photograph moving objects. We will observe a thing in motion, while we do the opposite - waiting, watching in silence, nearly invisible, motionless, minds at ease but fully engaged and focused. DON'T SHOOT OR I'LL MOVE is a good way to put it. If we shoot before (or after) things are in harmony, something in the scene will move out of sync and the shot will be missed - at least the one we're after. This is arguably true for all creative photographs but especially with moving objects. Allow the prey to tell you when it wants to be captured.
Bottom line, DON'T SHOOT OR I'LL MOVE is an exercise in photographing things that move while we are in a state of relative stillness. Life loves to move, change shape, dance, exult, go from one place to another for no or any reason. To best witness this dance we must stand outside it, dispassionate and aware, behind the viewfinder of our black box. It seems odd that when we photograph moving objects we forever freeze their movement, yet when we examine the print, they are born anew in the inner world.
And if that isn't astonishing, I don't know what is.
Some tips for shooting DON'T SHOOT OR I'LL MOVE:
It's your move. Happy shooting!
DON'T SHOOT OR I'LL MOVE will run from June 1 through June 14.
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