I have been progessing my new project Entropias. At the moment, much of this consists of simply walking the land and gradually taking it in. I need a feel for what I am doing, intellectually, emotionally and creatively. Thus to a degree I am making images I am not sure of and I don’t exactly know where this may lead. However, at this stage I think I need to follow my gut instinct and see what my subconscious is trying to tell me. Themes will emerge from the portfolio, I believe, if I resist the impulse to control outcomes and let things go, at least for now.
What I am trying to keep in mind when I raise the camera is the way in which photography itself introduces themes and complexities to the image. I am not making postcards or snapshots but trying for a richer and more complex story. Among the ideas the act of photography introduces are these:
- ‘Landscape photography’ exists only as a concept, a cultural artefact.
- Photography is an act of seeing that in itself alters our relationship to nature and our ideas of what ‘nature’ actually means (see the superb Natural Order, Burtynsky 2020).
- Photography alters our experience through visual and temporal manipulations (whether the that-has-been of Barthes or the rephotography of Mark Klett).
- A man-made landscape is a place that cannot be politically neutral, an image of it thus also being a political statement (Bright 1992).
- The photographer is part of the story and in the landscape. Ecological concerns are now too pressing to indulge the fantasy of the photographer as an objective observer who merely records and reports (see Monsanto, Asselin 2021).
- Photography involves a complex relationship between truth and the photographer’s ‘For me, what makes photography such an exciting and troubling artform in general is the deception and tension hard-wired into it, the difficulty of defining its slippery relationship to truth’ (Gregory Halpern, in Bourgeios-Vignon 2018).
I am also reading Todd Hido on landscape photography (Hido 2014) and he adds yet more ideas to the mix. I think I need to write down the most relevant ideas and keep them in my pocket as a reference when I go out to shoot. They are all ways of encouraging me to pause and consider why I am choosing to make a particular image. Without that, there is really no intent at all.
Figs 1-8: Mark Crean 2020. Entropias. Various images of work in progress from around the land on my patch. Click on an image for a larger, lightbox view.
ASSELIN, Mathieu. 2021. ‘Monsanto: A Photographic Investigation’. Mathieu Asselin [online]. Available at: https://www.mathieuasselin.com/monsanto [accessed 2 Feb 2021].
BOURGEOIS-VIGNON, Anne. 2018. ‘Power and the Camera: Gregory Halpern Talks Intuition, Reflection and Representation’. Magnum Photos [online]. Available at: https://www. magnumphotos.com/theory-and-practice/gregory-halpern-profile-intuition-representation/ [accessed 26 Oct 2020].
BRIGHT, Deborah. 1992. ‘The Machine in the Garden Revisited: American Environmentalism and Photographic Aesthetics’. Art Journal (New York. 1960) 51(2), 60–71.
BURTYNSKY, Edward. 2020. Natural Order. Göttingen: Steidl.
HIDO, Todd and Greg HALPERN. 2014. Todd Hido on Landscapes, Interiors, and the Nude. New York, N.Y.: Aperture Foundation.
Figures 1-8. Mark CREAN. 2021. From: Entropias. Work in Progress. Collection of the author.