Six Pictures of Paradise
nautil.us
nautil.us
All the reasons Nigel gives for what makes those photos interesting miss the point I think.
> "although any of us could have taken those pictures, only one person actually did"
> "Just knowing that these scenes aren’t the most beautiful places along the trail system provokes a rush of tenderness for that forest. It’s the same thing I feel looking at pictures of my wife caught unaware she’s being photographed, when she looks ordinary instead of radiant."
> "reducing each of Struth’s photographs to a list of the plant species it contained and some observations on the successional state of the forest. "
I notice this miss the point on artsy/literary stuff happens a lot when talking to other engineers. It's like there's a blindness that some can't seem to overcome. To see the pictures in another way, the keyword here used in the article was "complexity". Look at one, and image this wasn't a photograph at all. Imagine it if were an abstract painting, like a pollock painting. Forget about the forest, and that there are plants in it, just focus a little bit less and look at the lines. The author is looking at all the wrong details. Struth here seems to care about the tangle of lines, the massive dark structures contrasting with the little bits of tiny complex jumbles. I'd guess the best I could do is to say to an engineer, try to write a program that generates patterns like this. What would that look like? These aren't photos of randomness, there is complex, sophisticated architecture in these plants trying to fight for scraps of light. It's humbling and in a way reminds me of other types of structures in nature like the superstructures in the cosmos, like the CfA2 Great Wall[1]. Try and focus out a little, like I said, try and see it as a painting. Turn off the forest, and then if you get it, turn it back on, because context is important.
A good analogy here might be the 3D Stereograms that were popular in the 90's. Some people looked at those things and couldn't see the 3D (I often couldn't) but would say they see something.
[1] http://www.aanda.org/articles/aa/full/2004/31/aa0696/img12.g...
I personally think it's a good point that a lot of pictures that are famous/considered visually interesting are of grandiose locations and subject matter while here we have artistically strong photographs of "common/boring" spots.
Regardless of what the photographer intended, it's an mildly interesting thought.
http://classes.dma.ucla.edu/Fall13/173/wp-content/uploads/20...
http://www.contemporaryartdaily.com/wp-content/uploads/2010/...
http://www.contemporaryartdaily.com/wp-content/uploads/2014/...
Comparing these to the Paradise series, all exhibit the a similar sense of visual complexity, as discussed by VieElm. However, these photographs are not necessarily of "mundane objects" -- city skylines are commonly photographed. This leads me to believe that Struth's interest is in the visual appeal rather than an interest in "the obvious."
Despite this, I liked the article. Well written and thought-provoking.
https://www.google.com/search?q=kanemura+osamu&espv=2&biw=12...
I'm no Thomas Struth, nor had I heard of him before this article, but a couple years a ago I took several pictures in a similar spirit, of which I uploaded four: http://thyrsus21.deviantart.com/gallery/
And as for this artistic interpretation "Imagine [as] if it were an abstract painting" is a ridiculous one. It's as valid as me saying imagine it were actually an interesting photograph.
Then again, the world needs art historians as about as much as birds need bird watchers.
One thing we can agree on, the CfA2 Great Wall is awesome.