“Two narratives bound our era and, by degrees but unmistakably, our predicament: the story of consumerism and the story of globalization. In recent years, the two have combined to produce a single and singularly corrosive narrative. Consumerism has meant the transformation of citizens into shoppers, eroding America’s sovereignty from within; globalization has meant the transformation of nation-states into secondary players on the world stage, eroding America’s sovereignty from without. In collaboration, the trends are dealing a ruinous blow to democracy - to our capacity for common judgment, citizenship, and liberty itself.”

-Benjamin Barber

“It’s almost ludicrous to think of how many men and women have fought and died for the American idea of freedom: a man in a voting booth with a pencil, choosing which box to check. Real freedom, the kind we should be fighting for,is something much grander- it means creating the choices you choose between, for starters. A better illustration is the musician in the act of playing with her companions: in joyous, seemingly effortless cooperation, they actively create the sonic and emotional environment in which they exist, participating thus in the transformation of the world which will in turn transform them. Take this model and extend it to every moment of our lives - now that would be real freedom.”

-CrimethInc Ex-Workers Collective

The photograph associated with this story is telling in many ways: It illustrates the consumerism and globalization alluded to above. It of course links to perhaps the most well publicized realization of what is percieved to be democratic: The United States presidential election. Barack Obama turned into a commodity in a store window, on a well endowed torso. A man representing a set of principles, turned into a shill to sell t-shirts. Perhaps however, Obama is more than a shill for t-shirts, but also a shill to sell the false hope that the election he runs in, and the country he hopes to represent is really democratic.

The quoted words are sadly evocative our culture’s terribly stunted interpretation of what is democracy. If watching the news tells us anything, democracy is all about defending the right to commodify anything we can -including our means of survival, and by force if necessary- so that it may be bought and sold with consideration only to a largely arbitrary definition of monetary worth. According to many national leaders, democracy is something we must invade foreign land both to enforce and defend. It is for the protection of “democracy” that government and business must watch our every move in more and more invasive ways.

As pointed out, if it is true democracy we want, we must discriminate between the false “better than nothing” man-in-a-voting-booth democracy alluded to above, and real consensus based decision making including not authoritative figures, but all who will be affected by the decisions.

All to often, the persuit of democracy is simply a front used to push ever more authoritative, ever more violent forms of oppression (Afghanistan, Iraq, Vietnam, Guantanamo Bay).

It will pay for us all to think hard about what real democracy is, to learn to distinguish between this and the buzz word democracy so often touted by mass media and government. Once we know what real democracy is, we can start to create it in our own lives, relationships, spaces, cities and more!

skate-6

Indy- Vic West Park, Victoria BC
Pentax K200d with Bushnell 28mm 2.8

I have lately been grappling with the question of the relevance of my photography to aspects of my own life, as well as important aspects of life in general. I have questioned what my contribution is exactly, as in how it contributes to a greater understanding any relevant issues. As a look at any photo sharing website will show y you, it is easy for a photographer (or any artist) to go through life taking nothing more that pretty pictures; photos that may garner them complements from friends and perhaps some hollow praise on Flickr, but that serve mainly to excorsise a need for expression. There is nothing wrong with this, and it is mostly how I have emplyed photography for myself in the few years I’ve been at it. Now however, I want for my work to be relevant and purposeful, as opposed to simply pretty.
In the last few months my personal beliefs about our society and civilization have become more and more pronounced, and I have felt the need to actualize my beliefs. I have been asking myself how my love of expression through photography can become fuller by intersecting with my politics, especially on a local level. In other words, how can I use photography as a tool to convey my feelings about current situations.

I admire photographers who use images as a tool to convey deep meaning, to make statements, and pique the viewers interest while inspiring them to further inform themselves and actualize their feelings. Such gifted photographers are few and far between, but they are there. A terrific example of such an image is http://flickr.com/photos/damienfranco/2606022327/

GOing back and looking at my history of photographs, I see many images I am happy with, but few that say anything. Importance is of course subjective, but I hold my work to my standard.

I’m aware too, that context plays a huge role. On Hornby Island I photographed like there was no tomorrow, producing a body of work I am proud of, as it was relevant to my experience there, and the essence of the place. In Vernon, however, motivation and time are at a premium. Creativity can be hard to come by, and mediocrity reigns in this bastion of capitalist exploitation of the earth.

I have seriously considered giving up photography. Being of the belief that the destructiveness of our activities on the earth will soon catch up with us, changing so many of the ways in which we now live, it is hard for me to justify doing photography, so long as it is simply a superficial distraction. Moreover, I try to be conscious of when photography is inhibiting my living of a given situation, when I am simply commodifying an experience. I am currently on the fence. I think photography is worth persuing; it is something that keeps me sane, and in the world giving me a reason to leave the house. But it can no longer simply be a distraction, it must prove relevant to other areas of my life.

What this will look like is the question. More photo essays, more writing to tie it all together. I would like to attempt to tie local issues and situations to larger ones. I live in a place that is being continually developed at breakneck speed to the detriment of just about everything. Something like this ties into many larger issues such as housing, poverty, sustainability, urbanization, modernization, and so on. The trick then is finding the ties, and taking photographs that emphasis the visual manifestation of them. This blog gets a decent amount of hits daily, and I can’t help but feel obligated to make those views more relevant and meaningful to all involved. There is precious independant voice in this region, thus any is valuable.

On the other side of the coin is personal documentary work. Pictures of friends, trips, experiences, and so on that are relevant only to me and those involved. This will likely continue as a somewhat separate entity, or when it has some wider merit, incorporated into the above.

I have some good ideas for projects in the Okanagan, with ties to the costs of development and productivity and “the economy”. How I produce and deliver these project is a question I am looking forward to answering.

Partners

This is from a nightime photoshoot in th epark across the road from my place of residence.  The landscape up there was other-planetary, with the quiet and solitude adding to the experience.  From this shot, you’d never know a teeming city of 30,000 people lurks just on the other side of the hill.

I am currently coming to grips with a new camera, and something approximating photgraphic performance anxiety.  I’ve had to set up my camera to pretend like I’m shooting film.  Something was lost in translation between shooting film and (going back to) shooting digital.  Maybe it deosn’t help that I’m back in Vernon and have been anti-inspired by the culture of mediocrity.  Anyway, I have gotten out to try out the camera, and I like the results even if the shots themselves are not so inspired.  I’ll just wait until creativity strikes again and this blockage is gone. In the meantime, my favorite shot from the test “roll”.

In the middle of it all, we wait

An oasis near downtown Vernon. As I wait for my M42 adapter, I am consistently wowed by the goodness of Pentax’s 18-55 II kit lens. Reasonably fast, with minimal CA, fringing and whatnot. I still can’t wait to use my SMC Tak 50 1.4 on this body, however!

I added a link to subscribe to the RSS feed for this blog, it’s down at the bottom.  Or just click this.

Up Sandon 2

A few weeks ago I took a one day trip to Sandon with Karsten and Dan.  I had been to this former boomtown now ghost town in the Kootenays before.  A couple years ago, Faeryll and I explored the hiking on the valley sides above the townsite.  This time, however, there was five foot snowdrifts and no hiking, but again lots of photography.  The shot from Sandon were taken on Ilford 400 and Fuji Neopan 400, with a Rebel G, and my SMC Takumar 50 1.4 lens or my Bushnell 28 2.8 lens, both screwmount.  Perhaps the highlight of the day was Dan rappeling off of a road bridge on the way home!

All the photos are in this set at Flickr

Vagrant

In the past couple months I have shot a lot of film.  I’ve been very, very happy with the results and have posted many here.  Now, however, my film renaissance may be coming to an end.  Of course one can never really match the beauty of the silver emulsion, so I will keep shooting albeit at a somewhat slower rate.  I’ve finally accquired a new digital camera, and due to considerations of budget cannot afford to buy and process and print the 8 or so rolls I month I would minimally need to satisfy my appetite.  My printing setup is much more conducive to a digital flow, as my scanner is wofully inadequate to get good prints from film scans.  I will, however, be out shooting 120 with my Voigtlander Bessa I, as well as DNG with my Pentax K200D.  I have also made a new B&W film gallery at Flickr

Untitled

This winter I shot a roll of Velvia 50 in my vintage Ansco Speedex folder. The film was 220 format, with twice the number of frames as 120. The camera is supposed to be 120 only, however I got the Velvia for pennies and badly wanted to shoot it. Having no other camera to use, I taped both sides of the red film advance window on the back of the Speedex, figuring this would keep light from hitting the film from behind. On some frames this worked, on others it didn’t. On some frames the red window is very visible, but the photo works in spite of (or because of?) it.

All the photos were taken without a meter of any kind, requiring me to estimate exposure from a chart. Considering the narrow latitude of slide film, I think I did very well!

The photos are in my Hornby Island On Film set, as well as a few in my new Best Of Hornby Island set.

No Caption Needed is a very cool and insightful societal critique masquerading as a photoblog.  Great and thought provoking sythesis of photography and writing…