Tuesday, July 10, 2012

Field Notes-1 (2012)

"beach family and body board" (c) 2012 george elsasser

Here are some recent images I am pleased with. Similar style images are found here in Field Notes-2. My thoughts at this time are to include some candid street type moments (which in artistic concerns are on a similar wave length as my largest body of work in incidents & intersections) into my current book which of course means I just signed up for a ton more work. 

 "hula hoop" (c) 2012 george elsasser

The book currently involves work from 2005-2010. I am thinking I might be pulling from 2001 to present, not sure yet, but it has become a wide open project. 
I am thrilled to mention, I am going to release some control and get another set of eyes on my greater body of images to see if it can not be a little more holistic in scope of pictures used. I have chosen to work with Mike Davis for his excellent skills as an photo editor, graphic sensibilities and especially because his background is slightly different than mine. All the better to bring new things to the table. 

So I have made my ambitions for my book considerably larger. I am trusting the process and plan to take the revamped one with me to photolucida next April.
some background on my candid work:

Sans a few late 70s NYC street images, I guess some of the first of my street images were made in December of 2001 in NYC at the WTC site. Hopefully the best of those will surface on the blog eventually. To pay for a roof I did candid-journalist wedding photography from 1996-2008, which began to make me attracted to candid moments in general and this eventually got me working on that in my personal work.  I thoroughly enjoyed capturing the energy emotions and movement at those events, trying to move and flow in and out of situations was very challenging and fun. It reminded me of childhood little league and sports in general. The physicality, rhythm and timing needed to be developed were a joy to work on.

Now doing this kind of dance in public is entirely different,in public I am not given "cart blanch-right of way" as I had at weddings. It has taken me a few years to develop some techniques to get interesting images in the public world in a sea of moving people.

It is the same energy and unfolding and collapsing of events in real time that excites me. Finding ways to ebb and flow through an ever changing situation is a blast. It reminds me of younger days when I surfed, because in that sport one moves with and on the surface of a constantly changing form.

My small urban landscape thing is much more akin to snow skiing where the mountain does not move, I move and it stays the same.  Well in fact this analogy is bent. With every movement the photographer or skier makes what is seen or occluded changes quite a bit. On the street with people it is all motion at once, it is fantastic, moving water not frozen.

Strangely enough the rate of successful images seems about the same, even when one setting seems to me an easier situation. Which leads me to believe there are things going on beneath the surface of what I perceive. Taping into this flow no matter the work or approach is a lot of what I am about. As I said before after so many years photographing and living life I feel more like an instrument being played than someone playing an instrument.