Scavenger Hunt with Portraiture

Self Portraits ^

Portrait in Blue Alcove ^

Portrait in the white hallway ^

Silhouettes ^

"Find the bird and shoot it" ^

Bird eye view ^

Portrait in Direct Sunlight ^

Unique photography ^

Finding One's Subjective Truth

Søren Kierkegaard, considered the first existentialist philosopher, argued that when it comes to Christianity one must find truth on their own: a subjective truth. One can be influenced, can be taught, and can be guided; however, in the end, one must find these realities on their own terms and on their own time to truly be known.  I argue that this theory can be applied not only to Christianity, but to all knowledge. In order to really "know", you must find that truth on your own. I find this especially applicable when it comes to artistic intelligence.  The novel Camera Lucida, I find to be, is Barthes struggle to find his own truth within photography as an art.  He questions what makes him feel and what makes him static, while battling the concept of writing a novel explaining an art. "I realized with irritation that none discussed precisely the photographs which interest me, which give me pleasure or emotion" (Barthes, 7). "I wanted to be primitive, without culture" (Barthes, 7). Barthes is given the tools to observe photography. He knows who he likes and who he doesn't; he has influences and teachers and an innate eye; but in the end he desires to be "primitive". I think Barthes is touching upon this subjective truth when speaking of the "notion known as an artists style" (Barthes, 18). He describes how he can find work from an artist that makes him feel something, however, he cannot be moved from every single photograph from an author. That would be having the same exact subjective truth, which I don't believe is possible. 

"In this glum desert, suddenly a specific photograph reaches me; it animates me, and i animate it."

We must learn what evokes emotion within ourselves. We must find truth in the photographs we are taking or are observing in order to be not only memorable in the world of photography, but also truly satisfied.

 

 

My Holga Experience

I think working with a Holga camera is the best thing for me at this stage of my work. Last semester I worked with a large format camera and found that nearly every photograph I shot seemed forced and without a voice. I was getting too wrapped up in the technicalities  of the camera and spending less time envisioning photographs that meant something to me. Working with my 35mm is sometimes difficult as well. I seem to always been looking at the light meter in my view rather than the subject matter and composition behind it. I recently got a brand new Nikon DSLR which I was very excited to explore. I was excited to have the ability to bring a camera everywhere with me and take photos at that decisive moment; however, the settings, the effects, and the forever enhancing technologies were a bit overwhelming. To use a Holga camera, for me, is to let go of all worries and control and to take a photograph that inspires you. To me, it is all about the shot. You have so little control over the camera that it is all about the composition and the subject matter, what I had always yearned for. I went to Lawrence, Massachusetts to take this Holga photo. It was a quick shot of something that evoked a feeling within me. I didn't lose that feeling once while fidgeting with effects or adjusting, I for the first time, was able to simply snap a photograph. I think with the Holga is where my voice is able to come through and I have gained a confidence in my photographs. I plan on using the Holga as long as I can and for future projects in this workshop.

The holga is a chance to let loose and be free with your photography, some of my all-time favorite things to do.