On cultivation

On cultivation

Tim Carpenter

Mu Ch’i, The Six Persimmons (crop)

Over the years, I’ve had a number of friends who, after we’ve known each other for a while, have put it to me delicately that they don’t “understand” photography as an art form. Most of them actually looked at and enjoyed serious photographs, but they were hung up on the mechanical ease of the medium, particularly when it was viewed in a museum or gallery full of very difficult-to-make paintings and sculptures. One time, after walking around for a couple of hours when I was making some pictures, a guy who is close enough to not worry about offending me said, “You just take pictures of everything, and there’s bound to be something good.” I’m guessing that something similar has happened to almost anyone interested in photographing. 

At first, I had a whole bunch of (slightly defensive) answers about the moment of exposure being just the beginning of a process – that one makes numerous important choices in developing film, work printing and editing, and final printing &etc. These are good answers.

But there are better answers, or I guess one better answer, and it has to do with what happens before, rather than after, the shutter is released or the print is fixed.

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