Phototherapy
My love affair with photography began when I was just a young child. The spark that ignited this lifelong passion was a Canon AE-1 35mm Film Camera, an unexpected treasure discovered during a family trip to Amsterdam in 1976. The first testament to my devotion was a spontaneous photo of the shopkeeper who had sold us the camera.
I stand here today to boldly proclaim that photography has not merely influenced my life — it has reinvented it. So profound has been its impact that I truly feel as if the camera has become an extension of my soul and then vision, a seamless conduit between my reflection and the world. It has instilled within me a sense of purpose and direction so vital that I find it impossible to envision my happy existence without it.
In the world of photography, there are two essential elements. The first pertains to the technical jargon that, with time and practice, is internalized until they seamlessly blend with our instincts. The second is the art of truly seeing, a skill far beyond mere observation.
In the past, using a camera was much like driving a manual car. The careful adjustment of light, aperture, and shutter speed was crucial for capturing satisfactory exposure. Much like shifting gears in a car, these adjustments eventually become instinctive, requiring minimal conscious thought.
Regrettably, I have noticed that many individuals become engrossed in the equipment aspect of photography. Their attention pivots towards lenses, tripods, and quantified shooting, often overshadowing the critical component of the composition.
But today, my focus is not on the technicalities of capturing an image. Instead, I am here to delve into the unseen beauty we perceive through the lens and the powerful connection created the instant we press the shutter button. I am here to celebrate the transformational journey that begins with a single click, a journey that has become an integral part of who I am today.
The moment we release the shutter, enchanting sorcery takes hold. It is here, in this fraction of time, that we become the capturer of a defined moment itself, not mere observers of reality. With the shutter’s invitation, light streams in, a dance of photons that, after an intricate ballet through lenses, lands upon the film or sensor. This influx of light, depending on its allowance, alters reality and morphs it into a visually arresting composition — a slice of eternity encapsulated within four corners.
As this process concludes, the moment itself dissipates and is lost forever, never to recur in the exact same manner. Yet, through the mystical interplay of light and lens, we have frozen it forever, creating an immortal echo in the sliver of time — a testament to the magical alchemy of photography.
Let’s pause for a moment to consider colors. They are not tangible entities, but rather perceptions — interpretations of light, which itself is a form of electromagnetic radiation characterized by its wavelength. This wave-like nature of light assigns it a frequency, which is inversely proportional to its wavelength. When light interacts with matter, the different wavelengths are absorbed, reflected, or transmitted, leading to our perception of color.
The voyage of light is indeed an epic journey, originating from astronomical distances. The furthest detected light comes from galaxies over 13 billion light-years away, dating back to the earliest moments of the universe. However, the primary source of light for our planet, daylight, emanates from our own star — the Sun. Light from the Sun takes approximately 8 minutes and 20 seconds to travel the roughly 93 million miles to reach Earth.
As it makes this journey, light interacts with our atmosphere, passing through myriad layers, bending and refracting in a process called atmospheric scattering. This process is responsible for phenomena like the blue sky and the reddening of the Sun at sunrise or sunset.
Upon reaching a surface, light behaves uniquely depending on the object’s properties. Each object absorbs, reflects, or transmits light of certain frequencies, which we perceive as the object’s color. This happens due to the object’s molecular structure and how the energy of the photons interacts with the electrons in the atoms of that material.
The story of color doesn’t end here. The light reflected from objects then enters our eyes, where it is processed into an image. The cornea and lens focus this light onto the retina, a layer of tissue at the back of the eye that contains millions of light-sensitive cells or photoreceptors — rods and cones. Cones are sensitive to color and work best in bright light conditions. Humans typically have three types of cones that detect red, green, and blue light. Different combinations and intensities of these primary colors give us the vast array of colors we perceive.
Once these photoreceptors are stimulated, they send signals to the brain via the optic nerve. It is in the brain, specifically the visual cortex, that these signals are interpreted and “mapped” to their corresponding color values.
In reality, ‘red’ is not inherently ‘red,’ ‘blue’ is not intrinsically ‘blue,’ nor is ‘green’ ‘green.’ These colors are the results of complex interactions between light, objects, and our visual system, further processed and understood by our brain.
Our perception of color is subjective. We can’t definitively know if what one person sees as red is the same as what another person perceives. Moreover, some animals perceive colors differently, with some capable of seeing ultraviolet light, a spectrum of light invisible to human eyes.
Thus, light, and the colors it manifests, are not merely a physical phenomenon but a fascinating illusion, an interplay of physics, biology, and perception that paints the world as we see it.
Well, now that we’ve firmly established that everything’s an illusion and our brains are basically having a perpetual magic show, let’s dive into the artistic world of photography.
Enter Ansel Adams, a man who didn’t merely capture photos but rather painted with light. Born in 1902, Adams was a dedicated environmentalist and primarily a landscape photographer. His love for nature led him to become a part of the Sierra Club, advocating for the conservation of wilderness areas.
His awe-inspiring images of the American West, particularly Yosemite National Park, are a testament to his mastery. But beyond his spectacular landscapes, Adams is also famous for his work on photographic techniques. His development of the Zone System, a method to determine proper exposure and adjust the contrast of the final print, revolutionized the way photographers worked and made photography more accessible to the masses.
Though his iconic works, such as “Moonrise, Hernandez, New Mexico” and “The Tetons and the Snake River,” date back to the mid-20th century, they continue to mesmerize us with their outstanding quality. Thinking about the efforts required for these masterpieces — hauling heavy equipment into the wild, waiting for the perfect light — only deepens my appreciation for his work.
While Adams was painting grand landscapes with his camera, Edward Weston was busy pioneering fine art photography. Born in 1886, Weston is considered one of the most innovative and influential American photographers.
Before Weston, photography was primarily focused on people and landscapes. But he showed us the extraordinary beauty hidden in ordinary objects — like a bell pepper. Yes, a bell pepper! His image of this humble vegetable, captured in complete darkness using long exposure, turned heads in the photography world.
This captivating black-and-white nude study by Edward Weston showcases his mastery in capturing the human form. The subject, a woman cradled in her own unique pose, is transformed into an abstract artwork. Her identity is concealed, shifting the focus onto the harmonious play of light and shadow on her skin, resulting in an image that radiates an intimate elegance characteristic of Weston’s artistry.
So there you have it. Whether it’s the grandeur of nature or the naked beauty of everyday subjects, it’s all about how we perceive light — and apparently peppers!
At this juncture, I wish to distinguish between photography as an end product and cultivated image as a path, where the act of ‘seeing’ transforms into ‘being’. The psychology embedded within this process morphs the mere act of capturing photos into a meditative exercise, a spiritual dance that gently nudges our souls.
Seeing is being.
Through the lens, we become custodians of time, curating moments that fleetingly dance before our eyes. Peering into the viewfinder, we find ourselves at the precipice of the present, grappling with the transient yet boundless rhythm of time.
Our fingers glide over the camera, subtly adjusting the slide, tilt, and shift. Each movement is a deliberate stroke on the canvas of reality, a harmonious ballet in the pursuit of artistic perfection. It’s like composing with light, arranging a harmony of shadows and tones, rendering our thoughts into the very presence of the world and the moments that unfold before us.
At this juncture, we are the authors, scripting narratives that resonate with a thousand unspoken words. These stories are not just frozen in our frames but etched into the contours of our consciousness, forging an intimate bond with the world we perceive.
We stand there, detached from everything, embracing the serene tranquility that accompanies the art of seeing. This peaceful solitude is not one of confusion, but rather, it signifies introspection and profound understanding. In the end, we’re left with more than just a photograph; we acquire a treasure trove of memories — imprints of time encapsulated in the language of light, projected onto the canvas of our imagination.
As we wrap up our exploration, I implore you to delve into this extraordinary art form. Grasp any camera within your reach and embark on your own adventure into the radiant mosaic that life unfurls.
Let it be unusual; let it be unorthodox. Embrace the process and allow it to shape your perspective. Remember that, there are no mistakes, only invaluable lessons and experiences to cherish. Capture countless images, fuel your creativity, and immerse yourself in the vibrant zest life has to offer.
Travel has a beautiful way of expanding our horizons. I’ve had the privilege to explore more cities than I can recount. Every new sight, scent, and flavor, every unfamiliar language, they all enrich the grand mosaic of our travels. The myriad colors that craft the landscapes, the thrill of the unusual, the intrigued glances of strangers, and the excitement of distinction.
During an exciting expedition to Morocco, I found myself led by a guide named Abdul through the intricate mazes of Marrakech. Forever trailing behind the group, entranced by another irresistible scene, Abdul found himself frequently paused, waiting for me to catch up. Finally, his curiosity piqued, he questioned, “Why do you hold your camera in all these unconventional positions?”
As views unfold, you realize a transformation within yourself. No longer merely a passing object, you begin to perceive the world with renewed insight. Your camera morphs from being a tool to an integral part of the experiences you’re savoring.
During our intervals, I shared with Abdul what I saw and felt in front of me. Today, Abdul captures some of the most breathtaking photos I’ve seen. While I can’t claim to have tutored him, I did help him learn how to observe.
Photography transcends the mere act of capturing an aesthetically pleasing snapshot; it becomes about immersing oneself at the moment. You find yourself animated, adjusting, and moving about. Elements enter and exit the frame, some pulling into focus, others falling away. Sensation by sensation, your senses come alive, sparking a cascade of emotions. At that moment, the world shifts. It becomes less about taking the photo and more about the feelings it stimulates.
Photography’s allure resides not just in the visuals we seize, but in the emotions and memories they stir within us. It’s a meditative communion that bridges our inner selves and the external world. Adjusting your frame, and fine-tuning the slide, tilt, and shift, is akin to crafting a narrative filled with unspoken eloquence.
For me, the dance with the spectrum will persist, the storytelling through my lens unending, until my final moment. Photography is not just a hobby, it is an inseparable part of my being. The camera is, and will always be, an extension of my vision.
