August 2012 Volume 4, Issue 12 Vision in Photography · 2015. 2. 17. · Historian Jerry Donahue Hospitality Desk Margie Hurwich Judge Procurement Open Long Term Planning Mike Trahan

© Lake County Camera Club. No material may be reproduced in any manner without written permission of the Newsletter Editor or the material’s specific contributor.

Share Moments - Share Photography

August 2012 Volume 4, Issue 12

Vision in Photography A Message From The Editor

The 2011—2012 Lake County Camera Club season is coming to an end. Hopefully, we have had some great learning

experiences this past year. As we begin to gear up (physically and mentally) for the new season, we may reflect on the

past and contemplate changes in the way we see our own personal vision of photography.

There are two ways to look at vision in photography. The most obvious is what you see through your eyes and the

manner in which you use your camera to paint with light. While light, composition and other technical aspects are

important building blocks for the art of photography, the most compelling images come from the vision in your heart -

your minds eye. This vision is the ability to look at things as they really are to you and colored by the emotion of the

moment. A moment where you really see the world for what it is. A moment that moved you and compelled you to

capture feelings and thoughts in a image that you hope will evoke a similar emotion in the viewer. It’s not about adding

more, but about seeing with “clarity.”

David duChemin, a world and humanitarian photographer, best-selling author, and international workshop leader shares

some beautiful thoughts regarding photographic vision. “Vision is the beginning and the end of photography. It’s the

thing that moves you to pick up the camera, and it determines what you look at and what you see when you do. It

determines how you shoot and why. Without vision, the photographer perishes. When vision is spoken of in

photographic terms, it is not spoken of merely as the things you see but how you see them. Photography is a deeply

subjective craft, and the camera, wielded well, tells the stories you want it to. It will tell the truths you want it to and

certainly the lies. You are central to your photography and the camera is merely the tool of interpretation. The most

compelling photographs you take begin with the things about which you are most interested, most passionate and most

curious. When those photographs are taken in a way that communicates your unique perspective, they translate into

images that say something.”

Alian Briot writes, “Vision is message. It is not just creating an image but creating a story through this image. This

message can be about sharing an emotion, a feeling, a belief or a particular way of looking at the world. It is not just

about sharing an image with your audience. It is also about sharing the meaning of this image with your audience. This

image means something to you. This image contains not just objects, people and features. It also contains ideas that

represent your vision. Without vision an image is just an image. With

vision an image becomes the vehicle that carries your ideas to your

audience.”

Differentiate yourself by being yourself! It seems that could be the best

way to set yourself apart from many purist photographers. Focus on

your own vision. Your photographer’s vision can only be put to use if

you create photographs that reflect that vision.

The most important action for you to take as a photographer is to simply

make pictures in order to share moments and share photography.

Inside This Issue

A Message From The President 3

Accolades 3

Reading a Photograph 4

Style and Vision: What Makes One

Photographer Different From Another?

5

My Vision 9

Who Was Up To The Challenge 10

Egon’s World 12

A Vision Statement 13


Questions or comments about this newsletter?

Please contact Ken Johnson, Newsletter Editor at

[email protected].

We are proud members of the

Photographic Society of America and the

Chicago Area Camera Clubs Association.

Our mission is to promote, teach and share the ideals, skills, techniques and

good practices of the art of photography and the use of cameras and

photographic equipment.

Exposures - August 2012 Volume 4, Issue 12 Page 2

Dates To Remember

Visit our website

www.lakecountycameraclub.org.

We meet the first Thursday of every month at:

418 N. Prairie Avenue, Mundelein, IL 60060.

2012 - 2013

Board Members

President John Williams

President Elect Mike Trahan

Past President Ron Meyers

Secretary Terry Ferguson

Treasurer Jim Ross

Vice President, External Operations Michelle Cox

Vice President, Internal Operations Bill Sullivan

Committee Chairpersons

CACCA Representative Bob Kruzic

Competition Chair Bob Kruzic

Community Involvement Coordinator Open

Company Contact Coordinator Open

Continuing Education Coordinator Jim Ross

DPI Competition Coordinator Steve Cullen

Facilities Coordinator Bill Sullivan

Historian Jerry Donahue

Hospitality Desk Margie Hurwich

Judge Procurement Open

Long Term Planning Mike Trahan

Mentoring Program Coordinator Tracy Castro

Membership Coordinator Terry Ferguson

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Open

Program Coordinator Stevan Tontich

PSA Representative Michelle Cox

PSA Photo Travel Coordinator Birgit Tyrrell

PSA Photojournalism Coordinator Linda Kruzic

PSA Nature Coordinator Mike Trahan

Webmaster John Rouse

July 28 Photo Excursion - Fox River Trolley Museum

July 31 “Your Backyard” Challenge Due

August 2 Year End Party and Competition - University Center

August 9 Board Meeting - All are invited!

August 11 CACCA Awards Banquet

August 18 Shutter Café 8:00 AM. Join us!

August 25 Photo Excursion - Pioneer Village

August 31 “Freeze The Motion” Challenge Due

mailto:[email protected]

http://caccaweb.com/

http://psa-photo.org/

http://psa-photo.org/

http://caccaweb.com/

http://www.lakecountycameraclub.org/



A Message From President - Ron Meyers "What a long strange trip it's been" comes to mind as I write my last president's column for the newsletter. That classic

verse was penned by Jerry Garcia and Bob Weir in the 1970's song Truckin'. The song is a reflection on their band's

travels and experiences. In a similar manner I can't help but reflect on my Lake County Camera Club experiences over

the last 2 years and how far we've traveled together as a club. I'm proud to say that in that time we've accomplished

each of the short term goals we set for the club. In doing so we have built a strong foundation that will enable us to

reach for and attain even loftier goals. As we celebrate 50 years as a club the future is looking very bright.

Here's a few highlights of our club's accomplishments in the past few years. Club membership has grown to 165

members from a low point of only 5 members just four years ago. We've seen a huge increase in member participation

thanks to outstanding work by program and excursion committee members. As a learning club we've increased our

skill and knowledge tremendously resulting in CACCA elevating our club from "B" class to "A" class in most

divisions. Our website (which was already award winning) has been reworked to add new functionality for

members. With the LCCC PhotoEXPO event we were able to elevate the Lake County Camera Club to new heights by

sponsoring a major educational event in the Chicagoland area with two keynote speakers, a vendor showcase and

photography contest. The LCCC PhotoEXPO will continue to pay the club huge dividends through relationships we

forged with venues, speakers and vendors -PLUS- it has given the club the financial means to do bigger and better

things.

As I step down from the President's role in September I am confident that the club leadership is in good hands. John

Williams has been a vital member of an LCCC Board which has envisioned, supported and implemented the club's

recent achievements. I look forward to serving on the board over the next club year as past president as we continue

to grow and improve the Lake County Camera Club. As our club size has grown so also has the LCCC Board and

Committee members. It is exciting to see new members volunteering to work on the Board and Committees with such

great enthusiasm and fresh ideas. The 2012-2013 club year promises to be another great year for LCCC.

All in all the last two years have been an extremely busy and satisfying time for me as club president. As my role winds

down a number of you have asked me "what are you going to do with your time now?". Well, as the song says it's time

to "patch my bones" and "get back truckin' on" with my photography….

Accolades

A gallery of photographs focusing on Spirit were displayed in the Jackson Gym at

the historic Brainerd Building. Sponsored by the Libertyville Days Festival, the

Brainerd Community Center, Inc., and the Photo Flash Mob of Lake County the art

show featured images of nature, people, landscape, digital art, and Libertyville.

Joan Farrell submitted a picture of her Grandson Oliver playing his new guitar. This

image titled Oliver & Taylor was picked to be displayed in the Human Spirit category.

Joan was so pleased about this.

Oliver & Taylor

© Joan Farrell



Reading a Photograph By Christina Dickson

In my mind there is one particular difference between photographers and

viewers: We photographers know that there is more to a photo than meets

the eye.

Photographers like to critique photos – deliberately pointing out how the

photo could have been improved by this or that. But what percentage of the

time do we look at a photo and allow ourselves to get lost in it? How often do

we take a moment to really evaluate what the creator intended to

communicate?

Personally, I know that I ought to devote more time in the exploration of

reading photographs. Acknowledging this need for growth, I’ve done my

research and found a few tips from the pros. The next time you see a

photograph from National Geographic, or a portrait from an art gallery, walk

yourself through the following list. You’ll be excited to see with a completely

new perspective.

1. Start with First Impressions: What do you notice?

If a picture is worth a thousand words, what is this picture saying to you?

Allow yourself to take in all the elements collectively, and then tuck your

observations away for a moment. As you look at more specific details you

may be surprised that your first impressions aren’t always accurate.

2. Evaluate the content

What time is this photo taking place? Determine not just time of day but the occasion as well. Where is the setting

located – in both a general and broad sense? This alone will influence the story being communicated if there are

different cultures involved.

3. Relationships: Subject to subject or subject to viewer

What can you see about the people within the picture? How close are they? How do they feel about each other? Also

consider if there is anything being said between the subject and you as the viewer. Are there emotions that meant to be

communicated to you? What does this leave you feeling?

4. Concepts: Actions and connections within the setting

Sometimes subtle details within a photo can make a dynamic impact on the message. Hand gestures, direction of

gazes, etc. What do all these details communicate about the message of the image?

5. View: Does it make you a participant or a viewer?

Powerful photos are often the ones that draw us in and make us a participant rather than those that leave us as simply

a viewer. How does this influence your take and feeling about the photo?

6. Direction: Where does it take / leave you?

This question goes beyond simply eye flow. After evaluating all the subtleties and details, ask yourself how they all

come together to support the overall message or idea of the image. What thoughts do you have? What conclusions are

you drawn to?

It takes a little bit of practice to uncover the mysteries that often are hidden from plain view, but then that is what makes

art exciting isn’t it?

Christina N. Dickson is a visionary artist and philanthropist in Portland, Oregon. Her work includes

wedding photography www.BrideInspired.com and leadership with www.RevMediaBlog.com.

Reprinted with permission from Digital Photography School http://digital-photography-school.com.

http://www.BrideInspired.com

http://www.RevMediaBlog.com

http://digital-photography-school.com



Style and Vision: What Makes One Photographer Different From Another?

By Dennis Nikols

In the artistic community much is said about style and how that

style is more often than not linked to some innate talent. The

style side is mostly true. Each artist, irrespective of their specific

discipline, brings their own voice and vision to their chosen art.

That which is internal to the intellect of the artist, is unique and

independent of external training.

It would be convenient for us to instantly associate a

photographer’s work as that of their own signature style. Were it

only this easy, but alas, it is not so transparent. Theoretically,

most well known artists have an inherent recognizability; for

example, in a room full of impressionistic paintings one instantly

knows which images are van Goghs’. Yes, but not always.

The question is are van Gogh’s paintings all so unique they will

always be instantly recognized or is it that we have been so

widely exposed to them that most his work has been seen by us

before? My experience would suggest the latter. Before anyone

starts writing me, give this just a bit of thought and perhaps a

personal visit to the van Gogh museum in Amsterdam. Think of

Pablo Picasso, his work is instantly recognizable right? Well,

maybe not… that is only true through prior exposure to his

paintings. If my art history courses are remembered correctly, his

work is usually divided into 7 sections or time periods. The first

three are very different from that of the later sections. If you see

representative examples of all seven periods together, one

quickly recognizes distinctive transitions and minor elements that

are thematically carried through from one phase to the next. If

you did not know, or had never seen a selection of his work from

all these periods, you would be hard pressed to identify them succinctly.

The point is that Picasso and van Gogh both developed unique and distinctive styles over the course of time. To that

end, the photographer is no different, perhaps just a little subtler. For the purpose of this essay, we are keeping

“photographic” tricks and “darkroom” magic between minimal and intermediate levels. Extreme manipulations, while

artistic, slip into the world of graphic art and many would argue, lose their place as purely photographic art.

In photography, we find the same kind of pseudo-recognition. When we examine the portraits of Karsh or the landscapes

of Adams they are often mentioned in the literature as being both distinctive and fundamentally unique to the inherent

style of the photographer. Both are responsible for creating truly iconic images which now have a universal

recognizability. In this way, they share a common thread to the works of van Gogh and Picasso in their notoriety.

However, I have seen portraits with every bit of Karsh’s style and vision, that are every bit as well done, but were done

by others and predate Karsh, forcing the viewer to question the assumptions being made. Now I am a big Karsh fan and

have been since I was a boy. In a room full of his work, that one might find at the Chicago Art Institute, the style simply

screams at you. Similarly, I have taken black and white stills of Half Dome at Yosemite and if you didn’t know better it

would be impossible to say which was mine and which was Adam’s. I did not copy Adams in any way, except for the

general subject matter. I have one of his famous images on the wall of my office too. It is hanging there as a sort of

inspiration, a reminder if you will of what constitutes a great image and a truly creative vision.

(continued on next page)

© “Facing Your Fears” captured by Ji Yeon So



(continued from previous page)

We photographers are often

faced with a minor dilemma;

we often know exactly what

we want. That does not

mean we will have the right

conditions to create it. I am

talking non studio images

here. The studio is a

different thing. Every bit as

creative, it is a control of

conditions inside or lack of

control outside, that makes

the difference. You can go

to the same place, at the

same time of day, a

thousand time and never

completely reproduce the

exact conditions of any

previous encounter. That is

the challenging situation the

photographer faces every time they pick up a camera. I believe that it is in how the photographer overcomes this

challenge that defines their own personal style. It is how our unique vision of the world interacts with how the world

is being presented, that produces that personal style. I must warn the reader that the style differences among

many photographers is subtle and at times barely discernible to the naked eye.

There are those that say it can be learned and talent is not required. There are those who say the opposite. There

are others, I among them, who say that learning hones an innate talent. Every one of us has a unique vision of the

world and not everyone wishes to express it and fewer still wish to express it via photography. None of us can ever

be a Karsh or Adams or any number of other well known or lesser know photographers of the past or present. I

often photograph with a fellow photographer. We stand side by side and use essentially the same equipment, yet

our images are different and although we recognize it instantly most viewers would be hard pressed to tell whose

was whose. On the other hand, if one were to examine our respective body’s of work the comparison reveals

individual uniqueness in our distinctive styles.

Ultimately, both the famous and the anonymous photographers offer something worth learning. Wikipedia

publishes a list of famous photographers. I never pass up a visit to any museum of art or any collection of high

quality images. I would like to think I have developed one of those individual, instantly recognizable styles. I find it

rather impossible to look seriously at any photograph and not learn something about image making and

presentation.

My personal philosophy is quite simple. I try to present my subject in the best possible way, given the prevailing

conditions. This is however, highly subjective and purpose dependent, resulting in the occasional failure or lack

luster outcome. When that happens one of three thing seems to have influenced the objective: the light conditions

were poor, or I lost a crisp focus on the subject and/or purpose, or I lacked the skills and necessary equipment to

deliver the vision I set forth to create. The reality is I am good at what I do and when compared to others I possess

a unique view of the world, but is it instantly recognizable? Why, not at all.


© saswata bandyopadhyay




You can do what I have

done, continue to hone your

individual skills and express

your unique vision.

Dennis’ tips for revealing

your unique vision

escape (in no specific

order):

Subject Focus: You could

select a few subjects that

you feel passionate about. If

you have knowledge of the

subject it is often easier to

see past the superficial and

bring out the deeper

meaning and emotions. Not

all subjects carry deep

emotions or have any truly

deeper meaning, but that

does not mean they lack the challenge of making the mundane interesting. It is what gives you satisfaction and

intellectual pleasure that counts most.

Style: Style comes down to how you express your vision. It is some combination of methodology, technique and

technology. This is a function of: the technology chosen, post exposure processing, your over all approach, the

subject and conditions. It is making choices and maximizing the results.

Learning: Be open to learning from others as well as from your own experiences. I never discard a poor image

without first examining it closely to see why it failed. I suspect that I am like most of you and only like about 10 % of

the total images I generate. Sometimes I don’t like any of them because they simply fail to properly represent the

subject. If possible, go back and try again, applying your knowledge of what went wrong until you have captured

the essence of your initial vision. Keep in mind the original purpose of making the images. It is nice to take pictures

of your child’s birthday party and if some qualify as high art, all the better. If the purpose is to record the event for

relatives, future nostalgia trips or to embarrass the child later in adulthood then high art is simply not necessary.

Rules: Rules in photography are not so much absolutes as they are guidelines. Lets face it, if we did not set them

aside from time to time, originality would be lost. On average, the “rule of thirds” applies aptly, but when it comes to

presenting a certain subject the best possible way, at a given moment in time, then maybe not. Simply put,

experiment, try it all! Today multi-media is so inexpensive that all other costs are greater. It is more expensive to

travel even a short distance than to fill your reusable flash card. Unlike the days of chemicals, film and paper that

made us careful and aware of the cost of each frame, today’s digital photos are, in and of themselves, freebies and

100% recyclable.

Critic: You are your own worst critic, as every artist is. It is critical to be honest with yourself and with others. We

all know this, but more often than not, we are more honest with others and less honest with ourselves. The best

way is to look at all our images critically, but not despairingly. Apply a critical eye to which images work and do not

work and evaluate honestly why that is so. A great image of someone or something you detest is still a great

picture. Understand why. You are not forced to show it to anyone else. If you find anything that is not quite right

understand that too. It is back to the learning thing, isn’t it?


© “Peloponnese” captured by Giovanni C




Inspiration: We all need it.

Some of us thrive on it.

Some of us inspire others.

All of us are inspired by

someone or something. It is

that inspiration that turns the

ordinary into the

extraordinary. Let it work for

you. I carry a pocket camera

with me almost all the time

because sometimes I find a

unique moment and point

and shoot. They are not all

great. Most are just ordinary,

but every once in a while I

get inspired to go back with

my SLR and do it right. We

all need to be open to the

idea that inspiration occurs

when and where we find it or when and where it finds us. Once, my wife and I were touring a 15th century

cathedral and I was inspired to photograph the vaulted ceiling. I laid on the floor and did just that, much to her

embarrassment I must add, but the results were outstanding.

Practice: Don’t always wait for moments to find you, sometimes you need to go exploring with an active eye. Keep

lookout for anything new, different, and hopefully, exciting. If I have learned anything living in Alberta, it is the

prairies and mountains are never the same. You can travel the same path 100 times and easily get 500 different

images! Practicing is just as important in photography as it is in music or any other endeavor. I am convinced that I

have trained my eye to see what the lens sees. I know, from experience, that I can size up and compose an image

two to three times faster than most. By the time I get the lens cap off, I know what I am going to shoot, at what

focal length and from what position. I would like to think this is raw talent; the truth is that it is 50 years of practice.

Self Expression: Why do we take pictures or make images? For me, it is my form of artistic expression. For others

they sing or play an instrument, draw, sketch or paint, while others act or write. For me, photography is my most

important self expressive activity. If you choose photography as your expressive medium, you are also choosing to

share your unique vision of the world with that world.

Lastly, it is chance, pure and simple that often has the greatest influence on our work. It is what we make of those

chances that ultimately defines our individual vision of the world and culminates in the expression of our unique

style. Most forms of self expression are directed outward from ourselves towards others. Some would say

photography is not just self expression, it expresses or even defines who we are. I think I am still trying to define

myself and so for me, photography expresses what and who I am at any randomly given point in time although I

am not sure that it ever captures any real totality of my existence.

About the Author:

Dennis Nikols is a long experienced: geologist, philosopher and photographer. He is principal photographer at As I

Found It http://asifoundit.com , Ideal Totem http://idealtotem.com and writes a photographic blog adding 3 to 4

moderate length essays/month.

Reprinted with permission from Picture Correct Photography Tips & Techniques.

© “B.R.O.K.E” captured by InGeniusArt

http://asifoundit.com

http://idealtotem.com

http://www.picturecorrect.com/



My Vision By Margie Hurwich

When I decided to learn photography seven years ago I took online courses from Bryan Peterson. My overall style is

very different than Bryan's, but I fell in love with Bryan's story telling images and soon loved shooting the same.

Finding the balance between a great photograph and a story telling image is where I've found my vision. Generally my photos capture some type of emotion. If I'm shooting a model, that emotion doesn't always necessarily have to be from the eyes, hence the reason I cut off heads. The emotion could come from their hands, their body language or simply from them turning their face or back to the camera. These types of photos also convey anonymity. And since my photos are used for book covers, the face isn't generally needed since the reader usually forms their own vision of what the

character looks like.

One other thing I generally always try to do when framing up a shot in camera is where the text for the book will go. I have to envision that as I'm shooting because I generally do not crop my images prior to the final output. So what may

look off balanced or simply doesn't follow photography rules, works in the book publishing industry.

One last comment about vision although not about my own. Don't let anyone ever tell you that your vision is wrong or that the photographs aren't good. No, they may not work in our competitions, but you are the artist and you should

ensure that your vision gets applied each time you capture an image.

© Margie Hurwich

© Margie Hurwich © Margie Hurwich

© Margie Hurwich © Margie Hurwich

© Margie Hurwich



Who Was Up To The Challenge By Margie Hurwich

Our Challenge was Scapes (Land, City, Sea)...not Escapes. But looking at the images provided this past month, I may want to escape to quite a few of them!

To know me is to know that I love Chicago. Ron captured it wonderfully in all of it's beautiful glory!

© Carol O’Donnel

But not only would I like to permanently escape to Chicago, Carol captured an incredibly stunning image. A place I would escape to in a heart beat!

© Linda O’Rourke


And talk about a dream vacation! Linda found it!

© Ron Meyers


© Debra Olson



Are you up to our next Challenge? Images for the July Challenge, "Your Backyard", are due by Tuesday, July 31.

And then get ready for our August Challenge, "Freeze the Motion" due on Friday, August 31. Have fun and be creative!

Oh wait, I said it myself...the Challenge isn't where I want to escape to, but rather Scapes. We received so many! It's

great to see everyone out shooting. And also great to see some members participate in our Challenge for the first time!

© Joe Tamsevicius

© Tracy Castro

© Ginni Glass

© Ron Hahn © Michelle Cox © Sue Matsunaga

© Mike Burgquist



Egon’s World - He’s Only A Little Crazy!

I have asked our unique club member, Egon Schein if he would contribute a bit of wisdom (tongue in cheek) to each of

our newsletters and Egon has graciously accepted. Egon hopes that the world is ready and intends to caricature a few

members in the coming months. You might not know that Egon has only been in a TUX twice.



A Vision Statement By Ken Johnson

A vision statement is sometimes called a picture of the future but it’s so much more than that. Your vision statement is

your inspiration, the framework for all your planning. It is intended to serve as a clear guide for choosing current and

future courses of action. Often times in the process of reviewing your vision statement, you will come across a question

that you have difficulty answering. You may struggle to determine if you should focus on photojournalism, landscapes,

or portraits. Which vision is better for me?

Landscape photography is intended to show different spaces within the world, sometimes vast and unending, but other

times microscopic. Photographs typically capture the presence of nature and are often free of man-made obstructions.

Landscape photographers often attempt to document the space as well as convey an appreciation of the scenery.

Portrait photography or portraiture is a photography of a person or group of people that displays the expression,

personality, and mood of the subject. Like other types of portraiture, the focus of the photograph is usually the person's

face, although the entire body and the background may be included.

If you find yourself searching for direction, the best answer for you is to “listen to your intuition.” Your intuition is that

“inner voice” that knows all the answers. The best way to listen to your intuition, is to be silent with it. Your intuition is

always there. Most of the time it can’t be heard because you are drowning it out with your own constant “chatter.”

I often call myself a landscape photographer but I absolutely love images of human expression. While trying to silence

the chatter of my mind, a wonderful new friend provided me with a book that had nothing to do with photography or

vision. Yet, perhaps it did. Sometimes you find clarity and vision in places you least expect to.

The following superb paragraphs are from a book entitled Anam Cara by John Donohue.

THE FACE IS THE ICON OF CREATION

Landscape is the first-born of creation. It was here hundreds of millions of years before the flowers, the animals or the

people appeared. Landscape was here on its own. It is the most ancient presence in the world though it needs a human

presence to acknowledge it. One could imagine that the oceans went silent and the winds became still the first time the

human face appeared on earth; it is the most amazing thing in creation. In the human face, the anonymity of the

universe becomes intimate. The dream of the winds and the oceans, the silence of the stars and the mountains,

reached a mother-presence in the face. The hidden, secret warmth of creation comes to expression here. The face is

the icon of creation. In the human mind, the universe first becomes resonant with itself. The face is the mirror of the

mind. In the human person, creation finds the intimacy it mutely craves. Within the mirror of the mind it becomes

possible for diffuse and endless nature to behold itself.

The human face is an artistic achievement. On such a small surface an incredible variety and intensity of presence can

be expressed. This breadth of presence overflows the physical form. No two faces are exactly the same. There is

always a special variation of presence in each one. Each face is a particular intensity of human presence. When you

love someone and are separated from them for a long time, it is lovely to receive a letter or a phone call or even, in the

silence of your own spirit, to sense their presence. Yet there is such deeper excitement when you return again and see

the face you love; at this moment you enjoy a feast of seeing. In that face, you see the intensity and depth of loving

presence looking towards you and meeting you. It is beautiful to see each other again. In Africa certain forms of greeting

mean, ‘I see you.’ In Connemara the phrase used to describe popularity and admiration is, ‘tá agaidh an phobail ort’, i.e.

the face of the people is towards you.

When you live in the silence and solitude of the land, cities seem startling. In cities there are such an incredible number

of faces: the faces of strangers moving all the time with rapidity and intensity. When you look at their faces, you see the

particular intimacy of their lives imaged. In a certain sense, the face is the icon of the body, the place where the inner

world of the person becomes manifest. The human face is the subtle yet visual autobiography of each person.

Regardless of how concealed or hidden the inner story of you life is, you can never successfully hide from the world

while you have a face. If we knew how to read the face of another, we would be able to decipher the mysteries of their

life story. The face always reveals the soul; it is where the divinity of the inner life finds an echo and image. When you

behold someone’s face, you are gazing deeply into his or her life.

August 2012 Volume 4, Issue 12 Vision in Photography · 2015. 2. 17. · Historian Jerry Donahue Hospitality Desk Margie Hurwich Judge Procurement Open Long Term Planning Mike Trahan

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