Magazine - PHOTOGRAPH Archives - John Paul Caponigro

Make The Time You Need To Develop Depth

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In 1996 I completed a series of new images – Revelation. Impossible symmetries drawn forth from desert landscapes, they were unlike anything I’d seen before. Looking at these images, day after day, was like having a dream that never faded. They reminded me of the artifacts I liked so much from the sacred traditions of many primal cultures – totem poles, figurines, costumes, masks, and paintings – not just from the cultures I was exposed to as a boy growing up in New Mexico. The series was good and stood on its own, but I knew then that I still had much more work I wanted to do.
The series has been ongoing for more than twenty years. The series was on my mind when I first went to Antarctica in 2005; I started shooting deliberately for it on a return voyage in 2007; material slowly accumulated in subsequent voyages in 2009, 2011, 2013, and 2015; and then in 2016 it all came together. It wasn’t so much that the material I had gathered that year was just right, what really made the difference was the special point I had come to in my life and work.
These more recent images have an added quality, not solely because they were drawn from a different location, but also because of the passage of time and all the things that happened during it.
In part, this comes from sleeping on it; the subconscious offers many rich and fertile territories.
In part, this is the result of a significant amount of conscious thought; studying craft and composition were only the beginnings for preparing this ground; related reading and viewing enriched me further; having more special experiences with land planted more seeds; digging into my deepest thoughts and feelings about the subject and my approach helped me cultivate them.
In part, this work waited so long is that there was other work to do, including a harvest of related bodies of work (Inhalation and Exhalation). Making that work influenced this work.
In part, this is the result of my inner state now; contrary to what some have suggested, I’ve found this isn’t something to overcome no matter what the current conditions but rather something to be nurtured. These images would have been different if I finished them earlier – because I was different.
While one needs to guard against procrastination, one also needs to guard against rushing through experiences and not developing the necessary depth to fully engage them and do your best work. To reach its full potential, a great wine needs time, neither too little nor too much.
So when is the best time to move forward? This is a question that is best approached with awareness and deep contemplation. Though there are repeatable patterns and common tendencies, there is no one definitive answer to this question for all situations. I’ve found some work gets produced very quickly, sometimes a whole series is made in one shoot, while some work gets produced very slowly, over decades. Ultimately, you have to go with your gut. This doesn’t rule out the possibility and potential benefits of a great deal of research and forethought before you do. The two working in concert together often yield the most powerful combination. However, the single most important ingredient is, not mere spontaneity, which can be short lived, but a true effervescence of spirit, and it’s particularly important to pay attention to this quality if it can be sustained over longer periods of time. You need to be alive to your work to make it come alive.
In our increasingly fast-paced societies, there is a tremendous pressure to produce more and produce it more quickly. This can create a pace that is unsustainable for most creatives, at least when it comes to releasing work with real depth. However well-crafted or clever, there often seems to be something missing in the final results. Good fully developed work takes time … because much like creating deeper relationships with people, it takes time to develop a deeper relationship with your work and your self. Make that time. Savor it. It can make all the difference in the world.
Questions
How many ways can you enrich yourself before you move forward?
At what point does preparation become procrastination?
What signs suggest that this is or isn’t the time?
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Read more of The Stories Behind The Images here.

PHOTOGRAPH 16 – The Final Issue – Free Today

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“Issue 16 of PHOTOGRAPH magazine highlights the diversity of vision and creative expression. Issue 16 is a stylish send off (It’s the final issue!), featuring the work of Cynthia Haynes, Karen Divine, David duChemin, Takashi Kitajima, and Alain Laboile, and articles from regular columnists Martin Bailey, John Paul Caponigro, David duChemin, Chris Orwig, and Adam Blasberg. We hope this magazine inspires you to see differently as you continue to hone your vision.”
I discuss Using Psychology To Strengthen Your Composition.
Get your copy here.

Issue 15 Of PHOTOGRAPH Is Out !

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“Issue 15 of PHOTOGRAPH magazine is dedicated to the art of landscape photography and seeks out the ideal web of trees, explores what makes a good impressionistic landscape, catches the perfect wave, and examines at how including yourself in a vast scene can tell bigger photographic stories.
Portfolios and interviews include Ray Collins, a coal miner-turned-award-winning-photographer who’s job injury led to his discovery of seeing the sea from a whole new angle; the calm, impressionistic work of former painter Chris Friel, widely known and respected in the intentional camera movement world for his landscapes; Charles Cramer, a classical pianist who studied with Ansel Adams and developed a deep love for creating beautiful prints; and Paul Zizka, who became widely known for his self-portraiture after including himself in his hard-to-reach landscapes.
Regular contributors John Paul Caponigro, Michael Frye, Guy Tal, Chris Orwig, Martin Bailey, Adam Blasberg, and David duChemin—each recognized for their respective landscapes—have contributed articles on audience, perspective, flexibility, how everyday conversation can spark creativity, the natural landscape as metaphor, optical filters, and how negative space can make a positive impact on your photography.”
Get it here.

Check Out PHOTOGRAPH Issue 13

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Here’s what David DuChemin shared about PHOTOGRAPH Issue 13.

“Issue 13 of PHOTOGRAPH magazine highlights a variety of photographic adventures (close to my heart!), including the strength and elegance of being underwater, climbing to heart-stopping heights, hiking through the mystery of the Dowrog, and the sport of finding just the right light in a place you know like the back of your hand.

I’m thrilled to feature the portfolios and interviews with Mallory Morrison, who flows into the feeling of summer with a unique and graceful combination of fashion and dance—underwater; photographer/videographer Jordan Manley, who makes his craft a physical art; rural documentary photographer Chris Tancock, whose numerous collections are all made within a five-mile radius of his home; and the majestic Yosemite landscapes of Michael Frye, who has found the Park to be his perfect muse.

In addition to the featured portfolios, contributors John Paul Caponigro, Bruce Percy, Guy Tal, Chris Orwig, Martin Bailey, Adam Blasberg and I jump in with articles on improvisation, size, the philosophy of returning, finding your creative habitat, configuration, optimal focus modes, and how to make portraits in the tiniest of spaces.”

This installment in my column Creative Composition explores the power of Size.

Get 25% Off through Wednesday June 24.

Get PHOTOGRAPH Issue 13 here.

Check It Out – PHOTOGRAPH Issue 12

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Get 20% off PHOTOGRAPH 12 through Wednesday, April 21, 2015 here.
“Issue 12 of PHOTOGRAPH magazine celebrates diversity of expression, from imaginative portraiture, to the sensual canals of Venice, the solitude of dales in snow, and the joy of telling stories about oneself.

Portfolios and interviews include John Keatley (interviewed in Episode 5 of the C&V iTunes Podcast), who lets us in on the behind-the-scenes nerves and excitement of photographing celebrities, and what it takes to come up with ideas to keep portraits interesting and entertaining; David duChemin, who opens his heart—and his portfolio—about his ongoing photographic Venetian love affair; Doug Chinnery, who explains why sharpness is overrated and that there are no rules (or police) in photography; and the Instagram stylings of Pilar Franco Borrell, who—despite her claims of “being a bit of a mess”—creates light and fun photographic stories in which she is often the main character.

Regular contributors John Paul Caponigro, Michael Frye, Guy Tal, Chris Orwig, Martin Bailey, Piet Van den Eynde, Adam Blasberg and David duChemin express themselves with articles on discipline, position, knowing where to stand, letting go of perfectionism, choosing risk, metering modes, the evolution of a portrait, the power of persistence, and creating a presentation folio.”
In my column Creative Composition I discuss the importance of Position within the frame.
Find PHOTOGRAPH 12 here.

Check Out PHOTOGRAPH Issue 11

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“Issue 11 of PHOTOGRAPH magazine celebrates the power of movement, from the strength and elegance of African beasts, to heading across town via public transportation, to the muscular physicality of dancers, to traveling across the country and documenting it all in black and white.

Portfolios and interviews feature the work of Ken and Michelle Dyball, who open up about how they find life—and wildlife—on the savannahs of the Maasai Mara; impressionistic photographer Valda Bailey, who found unexpected grace and beauty while riding the No. 8 bus; Thomas David, who took a concept of dust and dance and created a powerful series; and Russell Grace, who—in trying to impress a girl—inadvertently switched to infrared photography, with beautiful results.

Regular contributors John Paul Caponigro, Bruce Percy, Guy Tal, Chris Orwig, Martin Bailey, Piet Van den Eynde, Adam Blasberg and I discuss seizing time, the strength of numbers, the starkness of nature, creative flow (and getting unstuck), the art and science of photography, depth of field, telling the story of your subject through lighting, and how to create a photo panel.”

This installment in my column Creative Composition explores the power of Number.

Get 20% Off through Tuesday Feb 3.

Get PHOTOGRAPH Issue 11 here.

PHOTOGRAPH Issue 10

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Issue 10 of PHOTOGRAPH magazine is out and 20% off today.

“Portfolios and interviews feature the work of cover girl Brooke Shaden, whose self-portraits exude a brooding melancholy in a light and whimsical way; the incredible Susan Burnstine, who modifies all of her cameras to best tell the stories of her dreams and nightmares; the portraits of Clive Charlton, who discusses how his art is influenced by his admiration of the Dutch masters for their use of Chiaroscuro; and Jim Kasson’s Staccato series, borne of the idea to make a short set of exposures at night and reassemble them in Photoshop, resulting in a painterly effect of complex lighting patterns, a sense of place, and compelling gestures.

Regular contributors John Paul Caponigro, Michael Frye, Guy Tal, Chris Orwig, Martin Bailey, Piet Van den Eynde, Adam Blasberg and David duChemin open up about patience, flow, creativity, finding rhythm, the beauty of natural light in both landscapes and portraits, the meaning of success, and the magic of the lens.”

Flow is this issues topic in my Creative Composition column.

Find out more here.

PHOTOGRAPH Issue 9 – All B&W

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“To kick off our new layout, this issue is dedicated to the line, light and shadow of non-colour. Within these 230 pages are portfolios and interviews with these incredible photographers: Jason Bradley, who discusses his extraordinary underwater work and the limitations, challenges, and thrills of it all; Carla Coulson, whose Paris fashion portraiture was borne from leaving her job, moving to France and becoming a published photographer within one year; the architectural style of Julia Anna Gospodarou, who explains how she sees sensual lines in concrete and steel structures; and the beauty of Chicago nights as illuminated by Satoki Nagata, who went from scientist to photographer with striking results.
Each of our regular contributors, John Paul Caponigro, Bruce Percy, Guy Tal, Chris Orwig, Martin Bailey, Piet Van den Eynde, Adam Blasberg, and David duChemin, have dedicated their articles to the art of black and white photography.”
My article Black & White Palettes discusses the many distinct styles you can find and craft to suit your vision within the arena of black and white photography.
Get 20% off through Tuesday.
Get your copy here!
BWpalettes

PHOTOGRAPH Issue 8 Is Available Now

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“Issue 8 proudly showcases portfolios from Ami Vitale (storyteller and National Geographic photographer), Charles Adams (fine art landscape photographer), Jon McCormack (documentary humanitarian photographer), and Tom McLaughlan (abstract photographer).
This issue includes articles by our columnists John Paul Caponigro, Bruce Percy, Guy Tal, Chris Orwig, Martin Bailey, Piet Van den Eynde, Adam Blasberg, and David duChemin.”
In my column Creative Composition I discuss the uses of and relationships between Simplicity & Complexity.
I’m delighted to see that included is the work of Charles Adams, who has been my assistant for the last five years.
Preview PHOTOGRAPH 8 here.

PHOTOGRAPH eMagazine – Issue 7

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PHOTOGRAPH 7 is out. This issue showcases portfolios from David Baker (Sea Fever), Michelle Morris Denniston, Mitchell Kanashkevich (Vanuatu), and Dave Morrow (nightscapes). The featured article is from Bret Edge, and the usual columnists are here, including Bruce Percy’s Natural Light column including a new column by Guy Tal.
In my column Creative Composition I discuss Pattern.
Here’s an excerpt.
“Many of the mysteries of the universe have been discovered by recognizing and describing patterns. The Golden Section/Ratio (8:5), the Fibonacci Series (1,2,3,5,8,13,21, etc), and the Mandelbrot Set (a shape characterized by repetitions of self-similar forms at all scales) are three examples of patterns that have been used for many different purposes – scientific, industrial, architectural, aesthetic, etc. Discover the type of repetition or change associated with a pattern and you too will unlock the key to understanding it – and possibly a universal principle.
People are pattern seeking / making animals. Even when patterns are absent, we experience them through our own projections. Making images is all about sensing and creating patterns. The same could be said of making any form of art – including life. Life itself follows patterns. You can make your images livelier by using the power of pattern; the clearer you make the pattern, the stronger the image. Increase your powers of pattern recognition and you’ll increase your visual versatility. Increase your sensitivity the unique qualities of each pattern as well as its differences from other patterns and you’ll increase the depth of your expression.
The modernist painter Josef Albers said, “A pattern is interesting. A pattern interrupted is more interesting.” Interrupting a pattern is a visual strategy that tends to produce strongly organized yet dramatic images. The pattern provides the organization. The interruption provides the drama. The pattern makes the images easily grasped, setting up expectations that are reversed by the interruption, like an unexpected plot twist in a story. An interesting distinction can be made between two different kinds of interruption; accents simply interrupt patterns; counterpoints not only interrupt patterns but they do so in ways that contrast with either the pattern or the main message of an image; both accents and counterpoints often become the new focus of the image.
Once you start seeing patterns you won’t be able to stop – and neither will anybody else. Understand the patterns you are naturally drawn to and you’ll better understand your visual voice and creative intentions – and if you make those patterns clear to others they will too. Because pattern is so powerful, it doesn’t take much; some artists have spent a lifetime exploring just one of these universal, organizing principles. Of course, you’re not limited to one pattern and there are so many to choose from. Simply use the power of pattern in your images and you’ll make your images more powerful.”
There’s more similar content in this and every issue of PHOTOGRAPH.
Download PHOTOGRAPH 7 here.