Body Language is all we need

I've been watching 'Tribe' by Bruce Parry (cool name!) on DVD this week and I've been enjoying it. Parry has such a sprit for 'getting in there'. I felt compelled to go and look for interviews with him and came upon one in which he spoke of certain things which resonated with me very much and I feel I must share with you.

When Parry is out there, trying to bond with tribes, his interviewer stated that "The secret of assimilation, he reveals, is that he never attempts to learn the language: "It gets in the way of eye contact and human understanding. The quickest way to bond is to offer to carry something, to eat their food, drink their [sometimes polluted] water."

I bring this up, because on all of my travels, when I've been making photos of people, I've often found language gets in the way.

This is very timely because only last week, I was speaking to a girl in the office I now share  (I've moved into a nice office in the centre of Edinburgh), and one of the girls was asking me if I learn to speak in the language when I make images of Cubans / Ethiopians / Cambodians / Indians / Nepalese....

My answer was no... I don't use verbal language. I use a lot of body language and I'm convinced that the people I photograph have a better understanding of 'me' than they would if they could talk to me. As Parry stated in his interview:

"It gets in the way of eye contact and human understanding. The quickest way to bond is to offer to carry something, to eat their food, drink their [sometimes polluted] water."

That is, in a nutshell, exactly how I feel about my exchanges with people I make images with: When I encounter someone, I get involved, and I have to communicate through my body.

We do listen to each other through our body language, and despite what someone says to you, often we're aware if their body is saying something else.

Well, it's just like that.

I'm a pretty open, easy going person, so I just act myself and see what happens. Often it works very well and I'm able to get up close to someone and make an image of them without them being frightened.

The other thing that really got me, when reading the interview with Parry was that he said :

"I used to worry that I would be embarrassed at dinner parties because I would be out of touch. But having travelled so much, I find the news thoroughly repetitive and negative."

Having done a lot of traveling myself, I think I understand what Parry is saying because each time I return from abroad, I'm aware that I seem to suffer a sense of  'not belonging to where I'm from'. Scotland, or the British Isles, seems like a strange place. People are insular. They have worries about small issues. Or so it seems. It's just that each of us, lives in our own bubble of 'reality', and I think what Parry is saying is that it's easy to become wrapped up in all the problems in our own societies, and not appreciate the good that is around. I've certainly found that on my travels... really poor people in Bolivia, who are happy, just existing. They have food on their plate, they have a home, their loved ones are healthy and things are good.

The same in India, if things are ok today, then that is all that matters, because tomorrow is tomorrow.

The same for Cuba... and Cambodia.... these places don't have a long term view. They are dealing with the more fundamental aspects of existence. They are just trying to 'be'.

I think as photographers, we should try to get out there. To experience. To see the world.

It gives us a chance to see a new perspective, but perhaps more importantly, it gives us a chance to appreciate things that we didn't acknowledge about our own societies, and to also question the way we go about living our lives too.

Surely that is no bad thing.

Taking Stock

As photographers, we should stop every now and then and review what we've been doing. It's so hard sometimes, to see any progression in what i'm doing, because i'm too close to it. Like someone who is unable to see traits in their own personality make up that all their friends and family only know too well, being an artist comes with the same issue: that of objectivity.

I'm not really suggesting that we become introverted and look within us, or like an accountant, make a very formal assessment of where we currently are in terms of how many good images we've made in the past year. Or how many competitions we've been successful in. I'm really talking about 'awareness'.

So objectivity - being able to see what you've really created, as opposed to what you 'think' you've created, comes from awareness. And awareness happens because we make a connection within ourselves - almost like a constant monitoring device, where we allow ourselves to be conscious of our creativity.

I'm certainly like that. I feel that I rarely (if at all) switch off from being in touch with 'who I am'. I think it's important to know who you are in terms of your artistic side, and for me, I think it comes very easily, because I've been doing art since I can remember, whether it was painting, drawing, music.... whatever, so I'm aware that I'm perhaps more in touch with 'who I am' as a creative person.

On my workshops these past few years now, I've had a lot of discussions with participants about this in one form or another. What I find striking is that many people find it hard to 'switch on' their creative side and they see a distinction between what they do for work and their photography pursuits. Accountants tell me they rarely get to be creative (I know a few creative accountants, so I beg to differ), and I have lots of people from technical backgrounds (IT, Engineering) who also express a feeling that what they do for a living forces them to think in a much more analytical way, and less in a creative way.

But I disagree with this. Many, without being 'aware' of it, are creative in their jobs. They have lateral thoughts, solve problems in a creative way. It's just that they don't realise that they are using that part of their creative mind, that I do when I'm in my 'creative mode' to make pictures.

I'm sure it's really that they haven't been practicing 'objectivity' and 'awareness' in the same way that an arty-creative-type does.

So maybe, it's a form of practice.

Becoming more aware of where you're going with your photography comes from stopping a lot and looking at it, hopefully in an objective way. Feeling where to go next, comes from a sense of intuition which I believe only comes because we question ourselves and even though we don't have any firm answers, opens up new possibilities in the process.

So if I were to give you a directive for a better creative life, it would consist of two things - objectivity and awareness. Be aware of what you're doing, even in your day time job, be aware of your decisions and the times when you find yourself lost in a solution. This is no different from those moments when we're 'lost' for a few hours behind a camera employing 'vision'. Objectivity is the practice of looking back at what you've done and what you're doing, almost from a 3rd-person perspective, and realising what it is you're doing best and maybe which artistic direction you now need to take.

Colour Management Continued

Over the past week I've been setting up my home 'studio' for want of a better word, for printing and proofing. As you may have seen in an earlier post last week, I took delivery of a viewing booth, which allows me to evaluate photographic images under controlled lighting. It is, as Neil Barstow - who I bought the viewing booth from, ideal for verifying that what you are seeing on screen is correct.

I bought a profiled print from Neil, along with a copy of the original file and a 'proof profile' for viewing the image under Photoshop's Proofing facility (something which, I'm at a loss to understand why Adobe didn't give this feature in Lightroom).

Anyway, the process is pretty straight forward. You calibrate your monitor, then profile it - I used BasicColour, which I have to say, has given the most accurate profile I've seen to date, and I didn't have to use a spectrophotometer for my wide gamut display. Just my simple X-rite Eye one display colourmeter. It worked really well and when I threw up the verification file and set the proof to the correct profile for the print, I was able to see that the file matched exactly what I see on my viewing booth.

The next stage now is printing. I know it's going to be a learning curve. I'll let you know how things go as I progress, but suffice to say that I'm intending to have a fully profiled, colour accurate printing process at home : something I've wanted to do for a long time as it will give me full control of the final output.

Will keep you posted about the colour management efforts and how things progress.

For Sale Canon Angle Finder C

I've never used this, and it's been sitting in my desk drawer for over 4 years now, so it needs to go to a good home. For sale, one Canon Angle Finder C. Completely like new, comes with a pouch and is in 10/10 condition.

To make it easy, you can buy it now for £115 by clicking the button below, and then using the 'checkout' button to get it.

I will ship to 'anywhere' and this is included in the price.

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