Page 63 - NyghtVision Magazine Volume 3 #4
P. 63
Falcon: As you know, we spend considerable you not taken the kitten from her? Would you
time talking about engaging the world around have created the photo any way?
us. Falcon: I can't answer that. Well, the last
Francois: Yes. Observe, engage, respond, question any way. I have no idea what I would
create, detach. The middle three - engage, re- have done.
spond and create - are all emotionally driven I can say this, the image has the emotion-
- or center around our emotional response to al power it has because I was in the moment
the world. with her. Being in the moment meant sharing
Falcon: Correct. And responding to the world her love and affection for her kitten.
has three components: Openness, honesty, Francois: So, when we discussed the topic for
and vulnerability. this interview, you mentioned that you were
Francois: How does that translate into emo- surprised by the poverty of the village.
tional truth? Falcon: Very much so.
Falcon: Good question. Actually, openness, Francois: So, if photography isn't objective,
honesty and vulnerability together don't con- why don't the images show your reaction to the
stitute emotional truth. The image created is poverty?
emotionally true. Falcon: The fact is that they do. You are
However, had I not taken the kitten and confusing an emotional response with being
held it, I would not have responded to her judgmental. There is no room for being judg-
as she desired. By taking the kitten I became mental.
vulnerable. I entered into the love and caring Francois: How so?
she felt for that kitten. Falcon: Judgement is a reflection of one's
Francois: I am still not sure I get it. moral perspective. There is no room for that
Falcon: Eugene Smith said - paraphrasing in photography and there is preciously little
something Edward Steichen said - "Most room for that in life. There was no reason to
photographers seem to operate with a pane of judge their living conditions or the political
glass between themselves and their subjects. situation which engenders and supports that
They just can't get inside and know the sub- poverty.
ject." The point of photography is to get in- Francois: I see. So, your goal is to emotionally
side and to know the subject. Emotional truth engage without judging. What happens when
is exactly that. you realize - as you did on that trip - that had
Francois: Okay. I don't want to get too philo- you been born there you might never have be-
sophical since that isn't the point of this article, come more than a dirt farmer?
but I have to ask, what happens to objectivity Falcon: Emotionally, it was tumultuous.
when you do that? Devastating. I wasn't sure how to respond -
Falcon: I never said photography was objec- well that isn't accurate. There were so many
tive. You know my thoughts on this subject emotions that I couldn't sort them out.
- from the design of the camera to the lens I Francois: So what did you do? How did you
decide to use, every image is subjective. That manage to focus?
subjectivity extends to composition as well. Falcon: Discipline coupled with an intense
We might talk about rules of composition but dedication to being in the moment.
in fact there aren't any rules. These rules are Francois: Well, this interview took a very un-
really guidelines. In the end, I choose the an- expected turn. I'd like to revisit this trip in the
gle. I compose the image based upon how I future if that works for you.
feel about what I am seeing. Falcon: Sure.
Francois: So, what would have happened had Francois: Thanks for your candor. Until then.
Autumn 2013 | 63
