Photography and the Creative Process

There is a photograph of Jack Nicholson on the cover of the March/April 2008 AARP magazine. I am struck by the photographer’s use of depth of field. In the photo, the main part of Nicholson’s face is in focus while his left ear, the top of his head, and his shoulders are out of focus. I looked inside the front cover for the photo credit and discovered it was shot by Sam Jones.

I wanted to see more of Sam Jones’ work so I did a Google search on his name. I don’t know if it is the same Sam Jones (see the reader’s comment below), but I came across the website of a certain Sam Jones and looked at her work. I was struck by the way she does her head shots.

If you log onto Sam Jones’ website by clicking –HERE– and look at the bottom row of photographs, you will see three head shots. The second photo in the row is a color portrait of a woman, and Jones has included her entire head in the photograph. The last two images in the row, on the other hand, are head shots in which the top part of the subject’s head is cut off by the frame.

I have seen other photographers make similar compositions and I generally find such pictures disturbing.

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Not to be dogmatic, however, in the photograph I call “Deep Thinker”, reproduced above, the subject’s whole face is not shown. In that instance, it was not possible for me to include the whole face, because “Deep Thinker” is a photograph of a child peering out from the small round window in a concrete castle on a playground, and in any event, I think this photo is successful with the close focus on the subject’s face.

In my view, with a traditional straight-on head shot, a composition I generally find dull in any event, to cut off the top of the subject’s head robs the image of closure.

To see my other portraits, click –HERE–

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Jeff Gatesman comments:

“Interesting dichotomy, using an image you shot with the head cut off at the top to illustrate how you don’t like that form of cropping. You explain why you cropped the child so close when, in fact, I think it is very powerful the way it is, without explanation. The emotion of this photo is all in the eyes and a little in the mouth; there seems to be no reason to include all of his head. The highlights of his face surrounded by the dark edges creates a moody kind of power. There is also a shallow depth of field here that I like.”

You may view Jeff’s photographs by visiting his website www.gatesman.com

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Another reader comments:

“The Sam Jones you’re interested in is at www.samjonespictures.com. He recently released a photo monograph “the here and now”. I am a wilco fan, and he shot and directed the wilco documentary from a few years ago — that’s how I got into his work!“

At an impromptu jam session, someone handed me a sketchpad and invited me to draw.  I replied, “I sketch with my camera.”

The resulting image, Pete Plays the Blues, will be exhibited at the Laurel Art Guild’s 39th Annual Open Juried Exhibition at the Montpelier Arts Center in Laurel, Maryland, March 9 through March 30, 2008.

This image was created in camera on 35mm black and white film.

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I was first exposed to photography in college in 1982 when I took a beginning photography course. Once school let out, I headed out to California to roam around. In Oakland, I chanced upon a group of drummers and starting taking pictures.

I love the way my camera captured the motion, and dare I say emotion, inherent in the players’ activity. I call this image “Drumming”.

Drumming is the latest addition to the Street Photography gallery at www.wmgphoto.com.

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I came across this statue of Jesus’s face, rent asunder, in a shop selling Christian religious iconography in Los Angeles. Schism, the photograph’s title was inspired by the crack in the statue’s face, but the more I looked at the image, the more it occured to me that the other elements of the image convey the sense of schism as well.

The right side of the image is dominated by Jesus on the cross. A brother holds a child in his arms, and the child looks lovingly up at the Christ on the Cross.

The left side of the rent image of Christ is a different story altogether. On the left, higher and larger than the crucifix is a statue of a person whose arms echo the arms of Jesus on the cross, but this person’s gaze is directed not on the Lord himself, but rather on the images above, highly iconographic images of the Virgin Mary holding the baby Jesus. Also on the left are various statues of Mary in the different forms in which she has been depicted, including a dark-skinned virgin in the background.

Kneeling on the floor in the left foreground are two children in prayerful pose looking up. Are they looking to the statue of Jesus before them, or are they instead praying to the various images of Mary, the face of one being surrounded by a halo’s glow, and both of which seem to have been placed just ahead of the Jesus statue, and thus, closer to the praying children.

So, while the crack in the face of Jesus brought to my mind the word “schism”, the rest of the composition speaks volumes about what that word might mean in the context suggested by the religious icons on display.