In his early work, Michael Kenna did not use a 4 x 5 view camera. He used a 35mm Nikon with Nikkor lenses. His film of choice was Tri-X, which he developed in Agfa Rodinal, diluted one to 25. He used Ilford Gallery for many of his prints. Later, Michael chose to work with a medium format Hasselblad, and he continued using the Tri-X/Rodinal combination.
Mr. Forbes, I am so thankful of your channel and videos like these. You have opened so many new worlds to explore and images to look up to. The historical perspective just goes to show you that equipment is one of the last things we should be thinking of. Your mission is as beautiful as the photo's you show us week in and week out. thanks again
One of the reasons why I don't usually look at landscape photography being made today is the fact you mentioned: cloning. A very big part of landscape or architectural photography today is a combo of long exposure, black & white, streaky clouds. That was a huge problem for me few years ago when I was doing quite a bit of architectural stuff and I found the thought that I shouldn't make it "long exposure, black & white, streaky clouds" limiting and challenging at the same time. That type of work can be, and often is, beautiful, has this surreal, detached quality to it. But looking at landscape and architectural photography posted on websites such as 500px or Flickr, one could have an impression there is no other way of shooting that sort of stuff. As if this was the one, officially approved way of shooting landscapes and architecture... But always happy to see Kenna's images again. Especially the cooling towers. They are absolutely stunning when seen in print. The peacefulness of composition, fine grain under fingertips, that book has some serious soothing properties.
A lot of photographers moan about post-processing and say they want to get the image exactly right 'in-camera' but Kenna is an obvious example of how vital printing and editing skills are. The negative is rather like the canvas he uses to paint on in the darkroom, it can make or break the image, just as a movie can be made or ruined in the editing suite. HDR and out-of-camera jpeg fans please take note.
I think you are conflating disparate actions and possibly misunderstanding why some choose a different process. Dodging and burning is a fine art in and of itself, but it doesn't change or edit the image. Also, it's a printing skill, not a photography skill per se. Editing, the way commonly done in an application like photoshop, is graphic art - still art - but not photography. A graphic artist can delete trash out of a scene, or people, can combine multiple images shot using different exposures, or even add things that are not there. Those skills and vision can make amazing images that look like photographs. True, an editor could use a graphic arts application to imitate dodging and burning, but very few limit themselves - they eliminate flares, remove distractions, and maybe correct distortion, and then decide to add a fawn at the water's edge lapping water. Would you say HCB's image of the man skipping over water is the same if he added the jumper in photoshop? ...or if he added the bicycle passing to the downward shot of the alley from stairs? There is still an artistic vision, but the former is photography, the latter is graphic art, just as neither is painting, even if photoshop allows one to add a brush stroke texture. I can't speak for the moaners you've heard, only for myself. Working in IT all day, I've come to hate computers. Photography is a pastime to get away from computers, which is also why I shoot film on mechanical cameras. I want to improve my photography through learning photography and practice. I do not want to spend my time learning an interface only to have the interface radically changed every two years (rendering my learning obsolete) so Adobe can continue to justify their sub-US minimum wage programmers in India. I don't like adding an "Adobe" line item to my monthly budget, that falls between fuel and utilities. I also don't like being lectured to that I shouldn't bother waiting for the right moment or working to get the shot right, "...just fix it in post." Maybe, let me enjoy my hobby, and you can enjoy yours.
Ted, thanks so much for this video. I loved seeing Kenna’s work that you showed and discussed-it was so interesting and captivating to me. I also loved how you shared about each person being unique, how important it is for us to find our voice and incorporate that into our own work. Your thoughts were so inspiring, encouraging and motivating for me-thank you!
Glad to see a Britiish photographer (albeit living in the US) getting recognition amongst "the greats". Banbury, where Kenna studied, is not far from where I grew up, and some years ago I managed to see an exhibition of his work at Banbury Museum (last year they had an exhibition of photographs of Iceland by Tim Rudman, whose work is in some ways similar to Kenna and definately worth a look - he's the acknowledged master of lith printing). I think at the time he described his work (or maybe the museum did) as photographic haikus - which I think is an apt description of his approach to baring the image down to its essential elements.
His work strikes me as somewhat similar to Fan Ho. I've always described Fan Ho's work as similar to a certain style of oriental painting where the periphery fades to light - mist, fog, smoke, haze, etc. - and there is usually a bird in flight in the distance. I'll have to get some of his books.
This is my 5th video from this amazing artists series and I don't see myself ever watching another photography channel. Thanks so much for your work. You have influenced me creatively more than anything or anyone! Bless!
I started following your channel recently, but I am on a binge, specifically the artist series. Thanks from exposing us to these wonderful artists and giving the insight into their work. Keep on going Ted!
Superb episode, Ted. I got up at 4:30 a few weeks ago to visit Great Smeaton to stand where Michael Kenna stood a few decades earlier. It was a wonderful experience. Thanks again.
My old parish priest was at seminary with him, and my late best friend was about 4 years ahead of him in the same seminary. One of my favourite photographers, and not just because we were both born in the same county.
Thank you Ted, splendid video. You make an important point in regard to length of emulation and making your own work. One can't help but respect the man, for his vision and success. Thank you.
Hello Ken Myself and probably a lot of other photographers will have taken Michael Kenna type photographs without knowing him. I’m not taking anything away from Michael Kenna, but before I knew who he was I took similar type work. Now that i do know his work I hope that any photos of mine that seem similar are not seen as imitation work of Michaels. I like solitude, rows of trees as I’m sure many photographers do. Michael of course does it brilliantly and deserves all credit for it. Your channel is excellent Ken. Merry Christmas, Barrie
Great episode Mr. Forbes....I totally agree with your insight into people getting carried away with emulating an artists work to the point of copying it only...you are right the goal as an artist should be to find "your own voice". Thank you for this glimpse into the work of a wonderful artists.
Would love to se you doing an episode of Josef Hoflehner's work. Really quite photographer, have not seen many interviews with him nor have I heard anyone talking about his wonderful work. Keep up the good work!
Great video. You hands down have the best channel on TH-cam on the art of photography (go figure…), instead of just a dime-a-dozen “camera”/“technique” based channels. And there’s nothing wrong with those channels and I get a lot of value from them. But not too many people really take a higher level approach to what is photography, what does it mean, what is the vision of the artist, what are the stories they are telling, etc. And to me, that’s where the meat and potatoes really are once you’ve gotten familiar enough with the technical aspects of the art. I know how to use a camera. I’m fairly proficient with their operation, the science and techniques behind how they and light work, post processing, and all of that jazz. But those things don’t create great images. Vision, style, philosophy, etc does. And you speak to those topics very well.
Another great episode that was both engrossing and very inspirational. Taking note of the minor mention of Sugimoto, I'd love to see future episodes coving other Japanese photographers.
I am impressed with the quantity and the maintained-through-the-years very high quality of your videos, Mr Forbes. I learn a lot. Thank you very much. ps/ I discovered Michael Kenna here. The « zen » quality of his work reminds me of Yamamoto Masao : it is about a state of mind, somehow…
Hell mr forbes, I am an amateur photographer and have been taking pictures for a while. Right one I use a 35mm minolta XG1 and I love it! But I am in a bit of a pickle , I do not know weather to get a good medium format camera for about $200 or save up for a new canon 7D. There is a huge price difference, but I do now know if I should go ahead and buy the film camera, or save up for a really good dslr
Keep up the great work. I'm learning so much from this channel. It's like getting a college photography education for free. Happily donated a few dollars on your website for all your hard work. Keep em coming :P
Fantastic back-to-back feature with Salgado and then Kenna. They're two of my favorites as well and I loved how you drew the distinction between their styles. You also included some wise words of advice in the Kenna piece about emulation vs. finding your own voice - certainly easier said than done considering the inspiring level of work by these guys but being our own artist is something we should really work hard to achieve. I struggle with that myself and I think being conscious of it is the first step, but it requires digging deep to discover who you are and what you bring to the table. I think if the goal is to become famous, make a statement, change the world, etc, then the unique expression of self and having a new/different/cutting edge style is imperative but for those who are just enjoying photography as a hobby, I don't see too much harm in shooting what you like to shoot (even if the greats already did it) because we should do what's natural. It's all a journey. As long as we're truthful, yet still open to experimentation, our individuality is bound to show through eventually. Great stuff, as per usual, Forbes.
Could you give us your thoughts on the tonal range of the pictures? They are bit sepia isn't it? I wonder about the teorical explanation of this choice. Thank you very much. Love these videos :)
The Art of Photography Ted! Can't believe that you missed the white/black and black/white of the sheep on the black ground, and black birds in the white sky. He's mirroring in short gradients and the larger gradient of the image. I do really like this showing of this book of his. Will probably add it to the collection of books I've bought on your recommendation.
I don't think its fair to say Ted missed that, the mirroring is simply your interpretation of what Michael Kenna was trying to do, but its still an artistic assumption. It could also be the case of simply having subject matter with good figure-to-ground relationships, and the burn at the top may have been given to frame the elements of the image.
May have? Sure. But based on the other work shown in this video about this book, it seems that over and over Kenna prefers very close to pure black and pure white, not much grey. I would find it convenient that he accidentally got the sheep pure white instead of grey-ish (with the obvious burning of the ground), and accidentally got the birds pure black (while dodging the sky).
jcnash02 I don't think Kenna accidentally did anything. What I'm saying is theres limited time to go into and analyse each photo in a review like this - given the confines of the format. Its not that Ted neccesairly 'missed' it.
Kenna is still a painter somehow. It is funny, - after watching this episode I opened my G+ stream and saw a Kenna-ish photograph..... now I spot them everywhere.....!
When you say printing technique do you mean what he did in the darkroom by burning and dodging? Also can this be achieved at this level digitally in say lightroom or photoshop? Thanks.
Michael Kenna prefers to shoot in low light or at night. He uses strong elements of design and long exposures. These long exposures gather a considerable amount of light, which Michael either places in the center of the frame or in some area of the image to where he wants the viewer's attention drawn. This technique creates an ethereal effect and is quite intentional. Kodak Tri-X developed in Rodinal also help create this effect. To reproduce this style digitally may require creating various layers in Photoshop and using smart objects.
The sad thing is those photographers who were mimicking his style and images probably don't know who he is, they all emulate each other and somewhere down the chain it would have started with a fan. There are so many pictures/styles or subjects that I simply avoid because I know they are already cliche. I think original work is getting harder and harder to find and is always hard to make.
Michael Kenna was heavily influenced by the landscape work of Bill Brandt. In particular, Brandt's photograph, "Shadow and Light," is reflected throughout much of Michael's early work, especially of his images of England. One could say that Shadow and Light became an overriding theme for Michael, even today. Like Bill Brandt, Michael incorporates very strong elements of design in his imagery. But Michael emphases a degree of minimalistic surrealism that may exceed what one normally sees in Bill Brandt's photographs. Michael then paints a bold tapestry of tones, almost archetypal in nature, from black to white, which lead the viewer's eye inextricably into an altered reality of beauty and mystery, much like a fairy tale. Bill Brandt's work, on the other hand, seems more surrealistic in some regards with a coarseness and starkness largely absent in many of Michael's pictures.
Interesting. I took a photo of two overturned chairs on a beach, before I knew of McKenna. But people will think I’ve copied him. I guess nothing is original, just our own take on it.
Hey Ted (theartofphotography ), I know that you have had the privilege to work with amazing photographers, and I believe hat you may be able to give me advice on how to make this more than questionnaire session. This coming month Henry Horenstein is coming to work with the photography department at my university for a whole week. I am familiar with some of his of work, and I have typically photographer questions to ask him. However, I don't want to ask those typical questions because I feel like people who study/practice photography could answer my questions. I would like some advice on how could take this experience and turn it something that would help me grow as a photographer, or how I should take advantage of this privilege? Thanks, Guillermo
to me the problem with Kenna being so influencial up to the point of being too emulated is that his work has been used time and time again in many iterations of the photographic practice: posters, postcards, desktop images, screensavers. you visit a furniture shop, there's a kenna poster print, enter a book shop, yup, there it is. i'm not saying it's a good nor a bad thing, after all it's his business, it's just his work is so popular it's impossible to rule out the mass of pople who's been influenced.
Thank you for this lovely show on Michael Kenna. Just one remark though : to call Sebastião Salgado a "leftist", is, to a European ear like mine, versed in politics, pretty much of the exageration of the year. Salgado couldn't be more of a bourgeois, being a huge Brasilian upper-class landowner, heir to generations of fazendeiros, a super capitalist foundation manager, who thrived for years on the aesthetisation of famine, war, and poverty (where someone like McCullin showed how one could remain human in inhuman times). Salgado is a brilliant photographer, but he is hardly a leftist. I mean, he is by no means a generous or engaged person. His family has money, he has money, and his photography, however sophisticated is a rich man's idea of charity : condescending and insufferable. He is very much the capitalist, and unabashedly so. Please. A leftist is someone who believes in social justice, and simplicity. Very far from Salgado. McKenna on the other hand is indeed something of a Zen buddhist, and his beautiful, and subtle photography shows for his posture.
I’d have to go watch a 10 year old video to even know what you’re talking about. But I’ve never brought politics into this channel so please don’t lecture me about what you’re interpreting from it. Salgado is one of the most brilliant photographers alive - I’m very aware of the work he does.
However, regarding people cloning his work and being influenced too far I think you are slightly wrong about that. You are right from a certain perspective that those people have executed a bad remix of art in general. But I think you are wrong in terms of the logic of copying someone. Every plant, fungus, and animal alive takes the genetic information it was given, and adapts it to its current environment, then that information is passed down to the next generation. Art works the same way. Art works like evolution. Everything is a remix. From the moment you're born you collect information from the outside world with your five senses: memories, and using that information you create - therefore nothing will ever be original. Nothing comes "out of somebody" No one is gifted with talent. Creativity is a way of operating, it is not a talent. And nobody's voice is "theirs". It is theirs, but not how you think. It is "theirs" in the sense that it is close to their taste. Their taste is also a remix of some sort, however it is unique and authentic to them. Knowing this information, you can then proceed by understanding the basics of creativity. Copy, Transform, and Combine. Copying allows the individual to, as you said, learn about the medium, and acquire domain knowledge. Then, the real work comes in. Combining, and transforming. Using those basic elements, one can combine the things one loves to create something that is close to their "soul" whatever soul is. *Watch the 4 part series "Everything is a Remix" by Kirby Ferguson on TH-cam, or Vimeo * before responding (if you want to respond) because it provides the backbone of evidence to all of what I just said here.
"Nothing of me is original. I am the combined effort of everyone I've ever known.” ― Chuck Palahniuk “Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." ― Jim Jarmusch “Only those with no memory insist on their originality.” ― Coco Chanel “There is nothing new except what has been forgotten.” ― Marie Antoinette (Marie is unknowingly referring to something called *cryptomnesia* - Yes, believe it or not, humans copy whether they are conscious of it or not. They can't help but copy. It's impossible not to copy. - So they might as well be conscious of it, and make a good remix rather than a bad remix) 'Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different' - T.S. Elliot
Regarding finding your voice, that's the easiest part. Look at as much art as possible, and filter through all the things that inspire you. Then combine all your favorite photographers, all the ones that speak to your soul. And that is your voice
Finally, we shouldn't shame people or fill them with guilt if they copy someone they love. Copying is an act of love. It should spread as much as possible. The sad thing in schools is that they bang it into peoples heads that "plagiarism is bad" and they don't teach people how to remix art, rather they shame them and they end up unconsciously remixing bad work that they deem "original" As Mark Twain has said: “The kernel, the soul - let us go further and say the substance, the bulk, the actual and valuable material of all human utterances - is plagiarism.” "Those who do not want to imitate anything, produce nothing." - Salvador Dalí Read more: www.brainpickings.org/2012/05/10/mark-twain-helen-keller-plagiarism-originality/
Not sure about your comments on Detroit? You obviously have not visited here in awhile. Yes in the 1980s, downtown looked like a war zone. But It hasn't been in a state of disrepair in quite awhile. I live in the Detroit area and the city itself has came a long way in the past 20 years. The downtown has been transformed, especially in the city center. Its a thriving city now with allot of people moving downtown again. Sure the city still has some low income neighborhoods with some abandoned buildings, but what major city doesn't? I just don't understand why every time someone in the media or in these types of videos mentions Detroit, they always talk as if the city is some horrible place that's in like you said "disrepair", and it really is not. Its a city rich in Music and Automotive history. Ive traveled all over the world as a photographer too and Ive certainly seen worse. Besides that, nice review of Kennas book. I very much appreciate his style.. as I shoot in a similar style.
I like your comment about second act along with the time taken to get good and find one’s own voice
Love this format Ted.
Superb vision and spellbinding composition Michael Kenna
Brilliant contribution that really boosts our understanding of Kenna s work, and of landscape and photography in general. Many thanks!!!!
Brilliant work! He has such a wonderful vision that greatly moves me. Simplicity and minimalism.
Beautiful.. thanks for sharing
In his early work, Michael Kenna did not use a 4 x 5 view camera. He used a 35mm Nikon with Nikkor lenses. His film of choice was Tri-X, which he developed in Agfa Rodinal, diluted one to 25. He used Ilford Gallery for many of his prints. Later, Michael chose to work with a medium format Hasselblad, and he continued using the Tri-X/Rodinal combination.
Mr. Forbes, I am so thankful of your channel and videos like these. You have opened so many new worlds to explore and images to look up to. The historical perspective just goes to show you that equipment is one of the last things we should be thinking of. Your mission is as beautiful as the photo's you show us week in and week out. thanks again
One of the reasons why I don't usually look at landscape photography being made today is the fact you mentioned: cloning. A very big part of landscape or architectural photography today is a combo of long exposure, black & white, streaky clouds. That was a huge problem for me few years ago when I was doing quite a bit of architectural stuff and I found the thought that I shouldn't make it "long exposure, black & white, streaky clouds" limiting and challenging at the same time. That type of work can be, and often is, beautiful, has this surreal, detached quality to it. But looking at landscape and architectural photography posted on websites such as 500px or Flickr, one could have an impression there is no other way of shooting that sort of stuff. As if this was the one, officially approved way of shooting landscapes and architecture...
But always happy to see Kenna's images again. Especially the cooling towers. They are absolutely stunning when seen in print. The peacefulness of composition, fine grain under fingertips, that book has some serious soothing properties.
A lot of photographers moan about post-processing and say they want to get the image exactly right 'in-camera' but Kenna is an obvious example of how vital printing and editing skills are. The negative is rather like the canvas he uses to paint on in the darkroom, it can make or break the image, just as a movie can be made or ruined in the editing suite. HDR and out-of-camera jpeg fans please take note.
I think you are conflating disparate actions and possibly misunderstanding why some choose a different process. Dodging and burning is a fine art in and of itself, but it doesn't change or edit the image. Also, it's a printing skill, not a photography skill per se. Editing, the way commonly done in an application like photoshop, is graphic art - still art - but not photography. A graphic artist can delete trash out of a scene, or people, can combine multiple images shot using different exposures, or even add things that are not there. Those skills and vision can make amazing images that look like photographs. True, an editor could use a graphic arts application to imitate dodging and burning, but very few limit themselves - they eliminate flares, remove distractions, and maybe correct distortion, and then decide to add a fawn at the water's edge lapping water. Would you say HCB's image of the man skipping over water is the same if he added the jumper in photoshop? ...or if he added the bicycle passing to the downward shot of the alley from stairs? There is still an artistic vision, but the former is photography, the latter is graphic art, just as neither is painting, even if photoshop allows one to add a brush stroke texture.
I can't speak for the moaners you've heard, only for myself. Working in IT all day, I've come to hate computers. Photography is a pastime to get away from computers, which is also why I shoot film on mechanical cameras. I want to improve my photography through learning photography and practice. I do not want to spend my time learning an interface only to have the interface radically changed every two years (rendering my learning obsolete) so Adobe can continue to justify their sub-US minimum wage programmers in India. I don't like adding an "Adobe" line item to my monthly budget, that falls between fuel and utilities. I also don't like being lectured to that I shouldn't bother waiting for the right moment or working to get the shot right, "...just fix it in post." Maybe, let me enjoy my hobby, and you can enjoy yours.
Great video. Thanks for creating it!
Thanks, Ted. I really appreciate all the time, the thought and the heart you put into each and every episode.
Ted, thanks so much for this video. I loved seeing Kenna’s work that you showed and discussed-it was so interesting and captivating to me. I also loved how you shared about each person being unique, how important it is for us to find our voice and incorporate that into our own work. Your thoughts were so inspiring, encouraging and motivating for me-thank you!
Thank you.
Excellent, thank you.
Thanks a lot for showing these!
love love loved the aesthetics of Michael Kenna - thanks for this wonderful episode
That music always adds such emotion to the work on show. Brilliant.
Glad to see a Britiish photographer (albeit living in the US) getting recognition amongst "the greats". Banbury, where Kenna studied, is not far from where I grew up, and some years ago I managed to see an exhibition of his work at Banbury Museum (last year they had an exhibition of photographs of Iceland by Tim Rudman, whose work is in some ways similar to Kenna and definately worth a look - he's the acknowledged master of lith printing). I think at the time he described his work (or maybe the museum did) as photographic haikus - which I think is an apt description of his approach to baring the image down to its essential elements.
His work strikes me as somewhat similar to Fan Ho. I've always described Fan Ho's work as similar to a certain style of oriental painting where the periphery fades to light - mist, fog, smoke, haze, etc. - and there is usually a bird in flight in the distance. I'll have to get some of his books.
This is my 5th video from this amazing artists series and I don't see myself ever watching another photography channel. Thanks so much for your work. You have influenced me creatively more than anything or anyone! Bless!
I started following your channel recently, but I am on a binge, specifically the artist series. Thanks from exposing us to these wonderful artists and giving the insight into their work. Keep on going Ted!
Superb episode, Ted. I got up at 4:30 a few weeks ago to visit Great Smeaton to stand where Michael Kenna stood a few decades earlier. It was a wonderful experience. Thanks again.
andy sheader {
Sublime productions. Thanks so much Ted.
This artist series is so good.
My old parish priest was at seminary with him, and my late best friend was about 4 years ahead of him in the same seminary. One of my favourite photographers, and not just because we were both born in the same county.
Loved this episode!!! Thanks for introducing me to Michael Kenna.
Thank you Ted, splendid video. You make an important point in regard to length of emulation and making your own work. One can't help but respect the man, for his vision and success. Thank you.
great episode, very inspiring..
Amazing and beautiful
Hello Ken
Myself and probably a lot of other photographers will have taken Michael Kenna type photographs without knowing him. I’m not taking anything away from Michael Kenna, but before I knew who he was I took similar type work. Now that i do know his work I hope that any photos of mine that seem similar are not seen as imitation work of Michaels. I like solitude, rows of trees as I’m sure many photographers do. Michael of course does it brilliantly and deserves all credit for it. Your channel is excellent Ken. Merry Christmas, Barrie
Great episode Mr. Forbes....I totally agree with your insight into people getting carried away with emulating an artists work to the point of copying it only...you are right the goal as an artist should be to find "your own voice". Thank you for this glimpse into the work of a wonderful artists.
This is my favorite photographer who you've featured, Ted. I am completely stunned by the style, and I thank you for this wonderful gem.
Would love to se you doing an episode of Josef Hoflehner's work. Really quite photographer, have not seen many interviews with him nor have I heard anyone talking about his wonderful work. Keep up the good work!
Great video. You hands down have the best channel on TH-cam on the art of photography (go figure…), instead of just a dime-a-dozen “camera”/“technique” based channels. And there’s nothing wrong with those channels and I get a lot of value from them. But not too many people really take a higher level approach to what is photography, what does it mean, what is the vision of the artist, what are the stories they are telling, etc. And to me, that’s where the meat and potatoes really are once you’ve gotten familiar enough with the technical aspects of the art.
I know how to use a camera. I’m fairly proficient with their operation, the science and techniques behind how they and light work, post processing, and all of that jazz. But those things don’t create great images. Vision, style, philosophy, etc does. And you speak to those topics very well.
Spectacular images 👌🤷♂️flipping heck 💎s
Great video! I always get very excited to see a new video from you on my subscriptions feed :) Thank you for all of your hard work!
Beautiful photographs, really inspiring.. Thank you Ted!!!
love your show :D
Another great episode that was both engrossing and very inspirational. Taking note of the minor mention of Sugimoto, I'd love to see future episodes coving other Japanese photographers.
This is great!
Amazing channel, really great content. Thanks.
Mr Forbes, thank you very much. Both for Salgado and Kenna :) I don't need Christmas in 2015, I already had mine in January :D Great stuff.
I am impressed with the quantity and the maintained-through-the-years very high quality of your videos, Mr Forbes. I learn a lot. Thank you very much.
ps/ I discovered Michael Kenna here. The « zen » quality of his work reminds me of Yamamoto Masao : it is about a state of mind, somehow…
wonderful video. Love his style. Keep em coming Ted!
Greetings from Greece!
Hell mr forbes, I am an amateur photographer and have been taking pictures for a while. Right one I use a 35mm minolta XG1 and I love it! But I am in a bit of a pickle , I do not know weather to get a good medium format camera for about $200 or save up for a new canon 7D. There is a huge price difference, but I do now know if I should go ahead and buy the film camera, or save up for a really good dslr
Wow, awesome.
Keep up the great work. I'm learning so much from this channel. It's like getting a college photography education for free. Happily donated a few dollars on your website for all your hard work. Keep em coming :P
Loved this, what beautiful work :)
Ted, your videos are so cool - great, I always learn a lot - and I guess that is your intention!
stuart walker me too :) great channel
love the series its become my fave thing to watch on yt but lil heads up England is in Europe
To me Michael Kenna is the Bob Dylan of photography, I barely like anything he made but I adore the people he influenced.
That first picture from the book is like a Rothko painting
Could someone tell me the name of the photo at 2:59 ?
I love these videos! So inspiring :)
Fantastic back-to-back feature with Salgado and then Kenna. They're two of my favorites as well and I loved how you drew the distinction between their styles. You also included some wise words of advice in the Kenna piece about emulation vs. finding your own voice - certainly easier said than done considering the inspiring level of work by these guys but being our own artist is something we should really work hard to achieve. I struggle with that myself and I think being conscious of it is the first step, but it requires digging deep to discover who you are and what you bring to the table. I think if the goal is to become famous, make a statement, change the world, etc, then the unique expression of self and having a new/different/cutting edge style is imperative but for those who are just enjoying photography as a hobby, I don't see too much harm in shooting what you like to shoot (even if the greats already did it) because we should do what's natural. It's all a journey. As long as we're truthful, yet still open to experimentation, our individuality is bound to show through eventually. Great stuff, as per usual, Forbes.
Could you give us your thoughts on the tonal range of the pictures? They are bit sepia isn't it? I wonder about the teorical explanation of this choice. Thank you very much. Love these videos :)
Magnífica apresentação... muito inspiradora!
7:28 nah, the actual horizon should've been about 10% lower in that frame
The Art of Photography Ted! Can't believe that you missed the white/black and black/white of the sheep on the black ground, and black birds in the white sky. He's mirroring in short gradients and the larger gradient of the image.
I do really like this showing of this book of his. Will probably add it to the collection of books I've bought on your recommendation.
I don't think its fair to say Ted missed that, the mirroring is simply your interpretation of what Michael Kenna was trying to do, but its still an artistic assumption.
It could also be the case of simply having subject matter with good figure-to-ground relationships, and the burn at the top may have been given to frame the elements of the image.
May have? Sure. But based on the other work shown in this video about this book, it seems that over and over Kenna prefers very close to pure black and pure white, not much grey. I would find it convenient that he accidentally got the sheep pure white instead of grey-ish (with the obvious burning of the ground), and accidentally got the birds pure black (while dodging the sky).
jcnash02 I don't think Kenna accidentally did anything. What I'm saying is theres limited time to go into and analyse each photo in a review like this - given the confines of the format. Its not that Ted neccesairly 'missed' it.
Kenna is still a painter somehow. It is funny, - after watching this episode I opened my G+ stream and saw a Kenna-ish photograph..... now I spot them everywhere.....!
not bad, some weird crop framing choices though
im new to photography and your channel ha been of much help. kenna reminds me a little of fan ho in mood. you should do a video on francesca woodman
When you say printing technique do you mean what he did in the darkroom by burning and dodging? Also can this be achieved at this level digitally in say lightroom or photoshop? Thanks.
The first question was answered in the video.
Michael Kenna prefers to shoot in low light or at night. He uses strong elements of design and long exposures. These long exposures gather a considerable amount of light, which Michael either places in the center of the frame or in some area of the image to where he wants the viewer's attention drawn. This technique creates an ethereal effect and is quite intentional. Kodak Tri-X developed in Rodinal also help create this effect. To reproduce this style digitally may require creating various layers in Photoshop and using smart objects.
Never heard of this photographer till now, and I quite like his work. Thanks for sharing
The sad thing is those photographers who were mimicking his style and images probably don't know who he is, they all emulate each other and somewhere down the chain it would have started with a fan. There are so many pictures/styles or subjects that I simply avoid because I know they are already cliche. I think original work is getting harder and harder to find and is always hard to make.
Michael Kenna was heavily influenced by the landscape work of Bill Brandt. In particular, Brandt's photograph, "Shadow and Light," is reflected throughout much of Michael's early work, especially of his images of England. One could say that Shadow and Light became an overriding theme for Michael, even today. Like Bill Brandt, Michael incorporates very strong elements of design in his imagery. But Michael emphases a degree of minimalistic surrealism that may exceed what one normally sees in Bill Brandt's photographs. Michael then paints a bold tapestry of tones, almost archetypal in nature, from black to white, which lead the viewer's eye inextricably into an altered reality of beauty and mystery, much like a fairy tale. Bill Brandt's work, on the other hand, seems more surrealistic in some regards with a coarseness and starkness largely absent in many of Michael's pictures.
Interesting. I took a photo of two overturned chairs on a beach, before I knew of McKenna. But people will think I’ve copied him. I guess nothing is original, just our own take on it.
Hey Ted (theartofphotography ), I know that you have had the privilege to work with amazing photographers, and I believe hat you may be able to give me advice on how to make this more than questionnaire session. This coming month Henry Horenstein is coming to work with the photography department at my university for a whole week. I am familiar with some of his of work, and I have typically photographer questions to ask him. However, I don't want to ask those typical questions because I feel like people who study/practice photography could answer my questions. I would like some advice on how could take this experience and turn it something that would help me grow as a photographer, or how I should take advantage of this privilege?
Thanks,
Guillermo
👏👏👏👏👏👏
Ouch! This just cost me 60 quid! I just had to buy the book. Thanks!
to me the problem with Kenna being so influencial up to the point of being too emulated is that his work has been used time and time again in many iterations of the photographic practice: posters, postcards, desktop images, screensavers. you visit a furniture shop, there's a kenna poster print, enter a book shop, yup, there it is. i'm not saying it's a good nor a bad thing, after all it's his business, it's just his work is so popular it's impossible to rule out the mass of pople who's been influenced.
Thank you for this lovely show on Michael Kenna. Just one remark though : to call Sebastião Salgado a "leftist", is, to a European ear like mine, versed in politics, pretty much of the exageration of the year. Salgado couldn't be more of a bourgeois, being a huge Brasilian upper-class landowner, heir to generations of fazendeiros, a super capitalist foundation manager, who thrived for years on the aesthetisation of famine, war, and poverty (where someone like McCullin showed how one could remain human in inhuman times). Salgado is a brilliant photographer, but he is hardly a leftist. I mean, he is by no means a generous or engaged person. His family has money, he has money, and his photography, however sophisticated is a rich man's idea of charity : condescending and insufferable. He is very much the capitalist, and unabashedly so. Please. A leftist is someone who believes in social justice, and simplicity. Very far from Salgado. McKenna on the other hand is indeed something of a Zen buddhist, and his beautiful, and subtle photography shows for his posture.
I’d have to go watch a 10 year old video to even know what you’re talking about. But I’ve never brought politics into this channel so please don’t lecture me about what you’re interpreting from it. Salgado is one of the most brilliant photographers alive - I’m very aware of the work he does.
Im not sure why anyone would want to clone his work. It does not do a darn thing for me
damn it.. i have to stop watching your videos.. can't afford to buy all this books.. ;-)
However, regarding people cloning his work and being influenced too far I think you are slightly wrong about that. You are right from a certain perspective that those people have executed a bad remix of art in general. But I think you are wrong in terms of the logic of copying someone.
Every plant, fungus, and animal alive takes the genetic information it was given, and adapts it to its current environment, then that information is passed down to the next generation. Art works the same way. Art works like evolution. Everything is a remix.
From the moment you're born you collect information from the outside world with your five senses: memories, and using that information you create - therefore nothing will ever be original. Nothing comes "out of somebody" No one is gifted with talent. Creativity is a way of operating, it is not a talent. And nobody's voice is "theirs". It is theirs, but not how you think. It is "theirs" in the sense that it is close to their taste. Their taste is also a remix of some sort, however it is unique and authentic to them.
Knowing this information, you can then proceed by understanding the basics of creativity. Copy, Transform, and Combine.
Copying allows the individual to, as you said, learn about the medium, and acquire domain knowledge. Then, the real work comes in. Combining, and transforming. Using those basic elements, one can combine the things one loves to create something that is close to their "soul" whatever soul is.
*Watch the 4 part series "Everything is a Remix" by Kirby Ferguson on TH-cam, or Vimeo * before responding (if you want to respond) because it provides the backbone of evidence to all of what I just said here.
A good remix is what uninformed people refer to as "original". A bad remix is what uninformed people refer to as a "rip off".
"Nothing of me is original. I am the combined effort of everyone I've ever known.”
― Chuck Palahniuk
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to."
― Jim Jarmusch
“Only those with no memory insist on their originality.”
― Coco Chanel
“There is nothing new except what has been forgotten.”
― Marie Antoinette
(Marie is unknowingly referring to something called *cryptomnesia* - Yes, believe it or not, humans copy whether they are conscious of it or not. They can't help but copy. It's impossible not to copy. - So they might as well be conscious of it, and make a good remix rather than a bad remix)
'Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different' - T.S. Elliot
Regarding finding your voice, that's the easiest part. Look at as much art as possible, and filter through all the things that inspire you. Then combine all your favorite photographers, all the ones that speak to your soul. And that is your voice
Finally, we shouldn't shame people or fill them with guilt if they copy someone they love. Copying is an act of love. It should spread as much as possible. The sad thing in schools is that they bang it into peoples heads that "plagiarism is bad" and they don't teach people how to remix art, rather they shame them and they end up unconsciously remixing bad work that they deem "original"
As Mark Twain has said: “The kernel, the soul - let us go further and say the substance, the bulk, the actual and valuable material of all human utterances - is plagiarism.”
"Those who do not want to imitate anything, produce nothing." - Salvador Dalí
Read more: www.brainpickings.org/2012/05/10/mark-twain-helen-keller-plagiarism-originality/
Joe "Good artists copy, great artists steal" - Pablo Picasso
Not sure about your comments on Detroit? You obviously have not visited here in awhile. Yes in the 1980s, downtown looked like a war zone. But It hasn't been in a state of disrepair in quite awhile. I live in the Detroit area and the city itself has came a long way in the past 20 years. The downtown has been transformed, especially in the city center. Its a thriving city now with allot of people moving downtown again. Sure the city still has some low income neighborhoods with some abandoned buildings, but what major city doesn't? I just don't understand why every time someone in the media or in these types of videos mentions Detroit, they always talk as if the city is some horrible place that's in like you said "disrepair", and it really is not. Its a city rich in Music and Automotive history. Ive traveled all over the world as a photographer too and Ive certainly seen worse. Besides that, nice review of Kennas book. I very much appreciate his style.. as I shoot in a similar style.
omg yessssssssss
The Gestalt !!!
Nice video. I do see a lot of Kenna copycats.
You know...
I don't see any message about the decline of Detroit in the Detroit images, they're just images of industry...
The impolite bowling natively moan because sort empirically like apropos a zesty citizenship. troubled, sharp pressure
His photos are absolutely boring in my opinion. Obvious stuff. Ah a tree against the sky. Atrocious stuff. Zen 😂😂😂😂