Seeing without Looking

I've noticed lately that my eyes have been doing most of the heavy lifting in the discovery of new photographs.  While that might seem reasonable or even expected I'd estimate it only accounts for half of my best images over the last 25 years.

Beyond looking for photographs visually, I frequently find them by following my feelings.  This involves a contradictory sounding process I think of as seeing without looking.  While I came upon the practice naturally, I found my way to a better understanding of it through the writings of photographer Mark Citret and the Taoist teachings of Lao Tzu.

Mark writes, "there is something irrevocably illogical about searching for something by 'not looking' for it. But experience has taught me that when I allow myself to drift in 'autopilot,' divorced from all my preferences, expectations, and judgments, my eye will eventually settle on some familiar scene, never quite seen before."

Students of Taoism will quickly recognize the idea of "effortless or actionless action." It's often referenced in Eastern Philosophy as the Paradox of Wu Wei or the mental state of Wu Xin and there are all manner of practitioners in sports, arts, politics, and everyday life.

My typical approach is to explore a place as calmly and openly as possible while paying close attention to my feelings as I move through the space.  When I'm inspired by something, even if (or maybe especially if) I can't put my finger on why, then I know it's time to get out a camera and start looking around.  In my large format days this meant spending time under the dark cloth panning the camera around until I settled on a composition that felt right.  These days it means exploring through the EVF of one of my Fujifilm bodies but the idea is the same.

I frequently find that the images I create in this way have far greater meaning and deeper connections than I recognize at the time of exposure.  Through talking with the photographer Paula Chamlee I came to think of these photographs as manifestations of that which I am unable to express any other way.  I believe most artists working sincerely experience something similar; even Edward Weston mused in his daybooks that "my work is always a few jumps ahead of what I write about it."

So it is my intention to get back to this way of seeing without looking more often. If experience is any indication it might take some time for me to recognize the deeper connections I uncover but it will surely be worth the effort or, non-effort.

Back to Basics

The Great Zoom Experiment proved to be what I'd always thought it would but hoped it wouldn't, too many options and not enough creativity inducing constraints.  The positive takeaway was a reassessment of my photographic tools.

My ideal kit would be a phone with a few built in lenses.  I have friends who shoot this way and make beautiful pictures.  I've tried using only my phone and while the results are technically good enough I just don't get the same satisfaction I experience using a dedicated camera.  That joy in the process ends up fueling my imagination and enthusiasm which results in better seeing and more photographs.

X-T3 w/ 23mm f2 WR

Those thoughts led me to the following question.  What camera and lens combo would bring me the most joy to use?  The answer was simple.  A camera with the exposure triangle controls (shutter speed, aperture, and ISO) visible at a glance on the top of the camera and changeable without accessing a menu or looking through a viewfinder.  That narrowed it down to Leica and Fujifilm and prices being what they are, Fujifilm was the clear answer.

Lenses were a little harder and lead to several thoughts. Prime lenses were a given and no matter how many lenses I own I always leave the house with only one or two. I hate changing lenses while I'm working but still like to have at least one alternative focal length option. I also like to have a backup body as being without any camera to use if something happens is not acceptable. I prefer perspectives that aren't too different from human vision so that the composition isn't overwhelmed by the drama created by the lens.

Based on those thoughts the answer was clear, two identical cameras and two, two lens kits. A set that is small and lightweight and a second set that lets in the most possible light and allows me to use selective focus. This way I make a choice as to which lens pair to take when I leave home, and then there's only one choice to make in the field, a little wider or a little longer.  And with two bodies there's no changing lenses once I'm out the door.  (Honestly, this feels a lot like what I did shooting weddings 20 years ago but I'd prefer not to think about that.)

X-T3 w/ 50mm f2 WR

In the end I sold all my Sony gear and bought two Fujifilm X-T3 camera bodies. For the slower and smaller lens pair I went with the 23mm and 50mm WR f2 Fujicrons.  The bigger and faster pair consists of the 23mm 1.4 and 56mm f1.2 WR Fujilux lenses.

I could see buying a telephoto zoom for certain special circumstances someday as I'm a big fan of the way André Kertész and W. Eugene Smith used those type of lenses but otherwise my equipment is set and I've been thrilled with my Fuji gear thus far.  My focus the last few months has been on images as the tools have quickly become second nature in a way my Sony's never really did.