Introduction to fidelity.
Gary Winogrand once straight batted a question 'how many shots it took took to get his perfect shot' as if the process was insignificant to the cause, which is not to suggest that he did not understand the labour of love, as his archive is a reminder of his fidelity, but to suggest that process be it black box or man/woman hours with the emotions/drives and physical activities the body endures should not be quietly ignored.
Starting with the black box which holds the lens and the analogue/digital mechanics to produce the shot, the deleted image is not only under theorised as Dr Daniel Rubinstein rightly states as a matter of photographic process, but even more so as a process of the photographer itself. Both of these processes do not stand apart as in a antagonistic duel but confide and relate to one another as in a mobius strip or from our own position more like an open ended cybernetic loop, as Simondon states a transduction, this is not the space for a deeply philosophical position on this but to just outline the processes, in this way it is enough to think on a basic level in the way a plant is itself constructed through internal and external movements.
Street Photography is itself a process of internal and external movements one cannot do without the other, a quickening of the heart or a cold shiver a wry smile these are actions of affect,emotion. Our point is that it is almost impossible to capture the internal movement from the external force which is not to state cause and effect (we never know which way that flows) but to place relations at the heart of this process. The character Philip Winter in the Wim Wenders film Alice in the city, states something similar (Polaroid in hand) with ' why can i not capture what i see' which is not to suggest that representational photographs from the giants to the flikerists is fruitless (no-one loves the photographic image more than I) but rather to extend this play with radical matter through sound and performance.
The phenomenological position of I am man/woman in the world or in walking man/woman in the world in terms of street photography does not go far enough. A practice that embodies camera process of the deleted image in the process of street photography which in turn embodies desires drives intensities affect is a practice we believe encapsulates a more robust fidelity to street photography.
Multiplicities.
Found objects in art have generally pointed in various directions philosophically and aesthetically. Found garbage art or trash art takes either the system position created by Picasso in cubism or the strategic position of Poubellisme. Steve Geer a photographic artist based in the United States originally from the UK, takes a slightly lamented position through his photo project Discarded. Searching the alleys of Chicago for the spillages that the garbage trucks leave. His curation of these objects then is where i would suggest a lament begins they are subtly and beautifully curated on top of puddles that are reflecting the high rise offices of american capitalism, the objects are the very banal used everyday objects that we constantly throw away be that plastic dinner sets, pens, balloons and discarded flowers. The lament I would suggest is not for the throw away consumer society that threatens the planet and would be a worthy cause but for what does it mean to be human with a body and desires in the modern world. A human with a body and desires how preposterous, but to view Mr Geers images is to at once witness the many defaults that stunt desires or emphasise a melancholy of living, japan itself going through the saddest crime wave in where pensioners are committing crimes to go to prison out of poverty or loneliness. This I would suggest is at the heart of Steve Geer’s project discarded. A further look in to Mr geers Small but impressive portfolio to date reveals a further thrilling uncertainty as to the body in the modern world. As any of us who has been compelled by street photography it’s main drive is one of curiosity yet in Mr geer’s ‘one sixth of a second’ that curiosity is laden ed with a shrinking space in where photographer and subject/object and camera technology are morphing. This would not be uncommon to the sensitive eye where spaces and people are driven and driven out of space (not in automobile way although Fluser would have something to say about that) public spaces private places being one such project by the author, what is interesting about this certain uncertainty is that the camera functions are dictating the uncertainty therefore subject object has a friend to play with the non representational devices of digital technology. In all, Steve Geers projects to date are interesting subtle and thought provoking.
Found objects in art have generally pointed in various directions philosophically and aesthetically. Found garbage art or trash art takes either the system position created by Picasso in cubism or the strategic position of Poubellisme. Steve Geer a photographic artist based in the United States originally from the UK, takes a slightly lamented position through his photo project Discarded. Searching the alleys of Chicago for the spillages that the garbage trucks leave. His curation of these objects then is where i would suggest a lament begins they are subtly and beautifully curated on top of puddles that are reflecting the high rise offices of american capitalism, the objects are the very banal used everyday objects that we constantly throw away be that plastic dinner sets, pens, balloons and discarded flowers. The lament I would suggest is not for the throw away consumer society that threatens the planet and would be a worthy cause but for what does it mean to be human with a body and desires in the modern world. A human with a body and desires how preposterous, but to view Mr Geers images is to at once witness the many defaults that stunt desires or emphasise a melancholy of living, japan itself going through the saddest crime wave in where pensioners are committing crimes to go to prison out of poverty or loneliness. This I would suggest is at the heart of Steve Geer’s project discarded. A further look in to Mr geers Small but impressive portfolio to date reveals a further thrilling uncertainty as to the body in the modern world. As any of us who has been compelled by street photography it’s main drive is one of curiosity yet in Mr geer’s ‘one sixth of a second’ that curiosity is laden ed with a shrinking space in where photographer and subject/object and camera technology are morphing. This would not be uncommon to the sensitive eye where spaces and people are driven and driven out of space (not in automobile way although Fluser would have something to say about that) public spaces private places being one such project by the author, what is interesting about this certain uncertainty is that the camera functions are dictating the uncertainty therefore subject object has a friend to play with the non representational devices of digital technology. In all, Steve Geers projects to date are interesting subtle and thought provoking.