Ere By Winding Ways

Many photographers have projects they’re trying to accomplish. Some want to build pinhole cameras, others want to take portraits. Some take a photo a day or shoot a roll each week. These are all great projects and goals. They have a premise and a definite end – a product of some kind.

Me, I just want to work on my foregrounds. And when I don’t have a foreground, I’ll lower the camera and make sure some grass is in it.

It’s sort of a cop out, I guess. Not that I don’t have projects. Or, at least, it’s not that I haven’t had projects. I have, and quite a few of them. But this year, I want to work on two things: foregrounds and angles.

I’ll talk more about angles some other time. But for now, let’s talk about foregrounds.

But I guess I don’t really have much to say about them. I know that they’re good, but I really don’t get them. I have come to the point where I don’t really care for photos without them – mostly including my own.

“What’s this photo *of*?” I’ll ask myself. There’s nothing in the foreground. The background is the subject.

In this photo, the blurry grass isn’t the subject, and yet it’s in the foreground. It places the viewer with me and the camera. But then, doesn’t every photo do that? Does this bit of grass make you feel more involved? And if so, why are you hiding in the grass with me?


‘Ere By Winding Ways’

Camera: Seneca Chautauqua (c1905)
Film: Kodak Ektapan (x-01/1981); 40iso
Process: HC-110; 1+100; 60min


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