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Volume 11 • Number 3 • June 2018

Wall Painting #2, San Francisco, CA, 2016

True Lies

by Huntington Witherill

Photography deals exquisitely with appearances, but nothing is what it appears to be.
– Duane Michals

Reality can be such a tricky proposition, particularly when it comes to photography. Despite photography’s ability to deal exquisitely with appearances, the oft-repeated axiom: a camera does not lie seems the antithesis of its own pronouncement. After all, is there any circumstance under which the visual characterization of an expressive photograph remains impervious to individual interpretation, personal bias, and/or illusory misperception?

In reality, cameras seem remarkably well suited for telling some of the most convincing (and truly fantastic) lies that one could possibly imagine. And come to think of it, aren’t we indeed fortunate to have such a wonderfully expressive tool with which to visually communicate what, in reality, are uniquely personalized interpretations?

I’m often amused at the lengths to which some photographers will go in order to defend their photographs as depicting unassailable truth and/or reality. “Well, it was exactly like that when I took the picture!” It was? Really? Do you suppose there is any chance that you might have significantly distorted whatever reality may have existed, simply by depicting that reality through means of a two-dimensional photograph? Yes, of course. The photograph itself (as an artifact) is, in and of itself, its own reality. But more specifically, whatever an expressive photograph may or may not depict… that will always remain open to personalized interpretation. Seems to me that a unique and personalized interpretation of reality remains the very goal we ultimately hope to achieve through expressive photography. Is it not?

The practice of artistic self-expression should be focused upon telling our own unique stories as a means to communicate and share individual life experiences. Arguably, the core purpose of that expression ventures well beyond the task of simply contributing to an increasing body of mechanically gathered and, frankly, objectively questionable visual evidence. In short, the photograph, itself, will continue to be of less than sterling evidentiary value when it comes to the absolute truth or reality of anything depicted within the frame.

What is it about unassailable truth and reality that causes those attributes to be so often ascribed to photographs? And more to the point, why are those attributes assumed to be a prerequisite to what is clearly a consciously controlled act of personalized artistic self-expression? Aren’t the chances that my own perceived reality will significantly differ from your own be all but self-assured? At the risk of repeating myself (here... and here) photographs simply do not depict any form of unassailable truth or reality. They are stylized interpretations of reality.

In my opinion, embracing the foregoing inevitability tends to free one from the constraints of objectivity, thereby allowing for a more deeply rewarding means to better understand and connect with the world around us. Now, of course, that doesn’t mean that I am suggesting we ignore reality. What I am suggesting is...
 

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Extended Galleries Have Been Added to the Site!

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Most all of the Main Galleries throughout this website have recently been expanded. Look immediately beneath the bottom row of images posted in any of the Main Galleries (listed below) and you will now find a prominent link to an “Extended Gallery” containing a number of additional images from that same series. The addition of the Extended Galleries has more than doubled the number of images posted throughout the site.

With my previous website, I had occasionally received comments about the fact that there were just “too many” images being posted within each of the galleries. Some of those comments attributed the problem to slower page-load times associated with the older site, while others felt it was simply a matter of “visual overload." Regardless the reasons, I decided to heed those comments and when I built this new site, I significantly reduced the number of images being displayed in each of the galleries. And wouldn’t you know it… once I did that, it wasn't long before I began to receive emails expressing interest in seeing “more images" than were being posted within each of the galleries. Clearly, poet John Lydgate hit the nail on the head with his famous quote: You can please some of the people all of the time, you can please all of the people some of the time, but you can't please all the people all of the time.

Hopefully, the new strategy of posting just a few pictures within each of the Main Galleries, together with a link to an Extended Gallery – for those who'd like to see more work – can serve as the ideal “happy medium.”

The new Extended Gallery strategy has been implemented within each of the following galleries:

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New Work Featured in the Recent Work Gallery

Currently being featured in the Recent Work Gallery are a number of previously unposted images culled from various trips to San Francisco, Colorado, Nevada, Washingon, and the Anza Borrego Desert (in Southern California). I've also included a few newer images from the ongoing series: Enigmata.

By the way... the Recent Work Gallery, itself, has recently undergone some design changes (as have most all of the galleries on the site, as described above). While the Recent Work gallery should appear the same as it has in the past, it has been redesigned so that posting and updating new work will be considerably easier and less time consuming to accomplish. The downside to the redesign is that the procedure for purchasing prints from the Recent Work Gallery (as well as from within the new "Extended Galleries" mentioned above) will be a bit different than it is with the other Main Galleries. Though suffice it to say, if you are interested in purchasing prints from any of the galleries on this website, detailed instructions are provided at the bottom of each individual gallery page.

To view the Recent Work simply click the link below (or either image, above).

Recent Work Gallery

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New Introductory Print Specials!

Don't miss the latest Introductory Print Specials!

For a limited time only, 11"x14" prints of the pigment ink editions shown above are available for only $170 each. That's more than 50% below the retail price. And, as with any print purchased through this website, free shipping is included!

Click either image above to take advantage of this limited time offer.
 

What are Introductory Print Specials?

Available for U.S.A. delivery, only, Introductory Print Specials (IPS prints) feature an ongoing program of selected pigment ink print editions being offered exclusively through the huntingtonwitherill.com web site at more than 50% below the retail prices. Each signed and numbered IPS print is culled from the "Regular" limited edition and is printed on an oversized sheet. IPS prints are not mounted or overmatted. Each loose print is rolled and packaged in a sturdy mailing tube, and free shipping is included.

This special offer applies only to the two images displayed within the most currently posted issue of the e•Musings Newsletter. Each IPS print offering will be available for a limited time only and there will never be more than two (2) editioned images available (as IPS prints) at any given time. Each time a new issue of the e•Musings Newsletter is posted, new IPS offerings will be posted (to replace the previous offerings). Once an image has been removed from within the Introductory Print Specials offerings, standard retail prices will be applied to any remaining prints available in that edition.

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True Lies

(Continued from above)

What I am suggesting is this: If you can let go of the idea that photography is to be used predominately as a means to mechanically record objective reality, your chances for greater understanding about how a given reality may actually inform and enhance your own life and circumstance will greatly increase. And further, I submit that the overall aesthetic value of your own photographs will, as a result, also greatly increase. As my mentor, Steve Crouch, used to say: “We don’t want to see what it is that you have seen. We want your photograph to show us what you actually feel about what it is that you have seen.”

Many years ago, I had an opportunity to photograph at our local SPCA for purposes of helping to visually illustrate (within a promotional publication) examples of some of the projects that were then being sponsored by the Community Foundation for Monterey County. A number of photographers based in the Monterey area were invited to select among a variety of ongoing projects that the foundation was involved in, and I chose The SPCA for Monterey County.

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The experience was truly rewarding, and one that presented a unique challenge: How to communicate (through photographs) the immense value and worthiness of the work that is being done by the SPCA. Well, admittedly, there are likely few individuals who don’t already understand and appreciate the value of the SPCA. So, my job seemed pretty simple and straightforward. It wasn’t.

So many of the pictures that I took (which I ultimately rejected) competently depicted (actually, exquisitely, as Duane Michals suggests) the appearances of what I had found at the SPCA. But, unfortunately, too many of those same pictures lacked the ability to visually communicate much of anything beyond the fact that I had affirmatively visited the SPCA… with a camera, in-hand.

Thankfully, not all of those pictures were quite so shallow but, to be fair, the vast majority of them were. The whole experience served as a great opportunity to begin to look beyond the “reality” of what it was that I was objectively seeing, and attempt to use the camera for purposes apart from producing a mere visual record of whatever was being presented to my eyes. And of course, producing those more meaningful kinds of pictures continues (to this day!) to be a far more challenging, yet significantly more rewarding proposition.

The next time you pick up your camera – before you snap the shutter – take a few extra seconds and give some thought to what it is (specifically) about whatever has caused you to stop and take notice of the scene in the first place. Try to zero-in on that aspect of the picture, alone, and pay little attention to the perceived reality associated with the scene, itself. Only then… snap the shutter.

Taking those few extra seconds, prior to taking the picture, will tend to cause you to more deeply reflect upon not only what it is that you are photographing, but also why you have chosen to isolate and transform that particular reality as a means to communicate your own stylized interpretation of the scene, itself.  And, as an added bonus, that extra thought can also help you to identify, more precisely and effectively, what it is that you are actually trying to communicate to your audience.

The relative unreality that is inherent within each photograph reveals precisely the attribute that allows us to distance ourselves from what would otherwise be little more than an act of mechanically reproduced reiteration. And let’s face it… absent that unique ability to achieve a more personalized interpretation, our pictures would otherwise be expressively indistinguishable from one another. I trust you can imagine how boring that would be.


Huntington Witherill

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eMusings Archive

An extensive collection of articles from past issues of the eMusings Newsletter can be found through the following link: eMusings Archive.

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