It’s time for a fourth annual give and take sometimes better known as “ask and you shall receive”, and on rare occasions “give it to me Mr. Smith”. The interview will take place as always by me, probing ever deeper into the truly eccentric ID of Mr. Smith.
Mr. S: For those who have followed your exploits and notations, is it true that you believe self-awareness (an examined life) constitutes a strong part of one’s ability to make great photographs?
Mr. Smith: Wow, you get right to the point. Absolutely, yet not necessarily so. I don’t mean to be elusive, but this is a very complicated issue. For me I find photography to often be a key to unlock some of the great mysteries about oneself. I can look at photographs and tell a great deal about the person who took the photograph: it’s as if the photograph is a guidebook that helps reflect what one feels about the world around them. But I’m not sure self-reflection is necessary for everyone. If your life and your pictures are working well and you are comfortable with your work, so be it.
Mr. S: Can you elaborate further?
Mr. Smith: Firstly it is my belief that great photography as well as many of the arts is an expression of deep profound feeling that lingers in one’s soul ready and able to be expressed. Some rare people have an avenue directly to these feelings, and need nothing else. This is quite exceptional and often not the case. Most people are unable to express the positive forces that reside within them. They express resistance, frustration, distance, anger, and other repressed feelings in their work.
Mr. S: So what is wrong with that. Isn’t that simply expressing what they are feeling?
Mr. Smith: Good question, but no. It is an expression of confusion and conflict, which is ok, but generally not that successful photographically. One needs to pour one’s heart out, to stand vulnerable, exposed, shouting (even if it’s a whisper) a very clear message to those around them to have the world even begin to take notice.
Mr S: I still don’t understand why confusion expressed in ones work isn’t successful?
Mr. Smith: Please remember, I am not talking about the surface, or a purely descriptive expression of something. The surface, i.e. the subject matter, is not in question. I am talking about what resides below the picture. For example I can feel in the photograph how one relates to the subject, whether it be a figure, or a landscape or even a still life. Is a photographer tentative, frightened, aloof, angry, etc. then the viewer consciously or unconsciously feels confusion rather than intimacy. The viewer will feel confused about their feelings. The photograph will remain unresolved, off-putting, and incomplete.
If you look at a Rembrandt or a Leonardo painting the subject is emotionally very complicated, but the painter who made those pictures is very clear.
Mr. S: Do you think you have the ability to make the same intense pictures as you are getting older and you have some illnesses?
Mr. Smith: As long as the intensity is still there, as long as I can respond powerfully, as long as I am deeply attracted to people and the world in which we live, all is well. In fact I am far wiser today than years ago so one now gets the very best of me when I make photographs.
Mr. S: How do you see your legacy?
Mr. Smith: I put my life on the line for photography, and it returned the effort with abundance. Its gift back to me was a me devoid of most of my neuroses. One who is clear, sharp, and energetic. Whether all these years of work, or whether the work is good enough to pass the test of time, is beyond my control. What I do control is my effort and focus on trying to make great pictures. Whether they are or whether they’re not successful is up to the viewer.
Mr. S: So what is The End meant to stand for?
Mr. Smith: Many opposing things, and with that I will say goodbye and good luck for now.