There are very few times I think an off topic post is useful but the power of a still photograph is abundantly clear in this image, it was posted on the Nikon D1 mailing list by Judith Lipmanson.

http://www.missoulian.com/bonus/elkfire.html

-- Altaf Shaikh (bshaikh@nyc.rr.com), September 26, 2000

Answers

Just for clarification the URL was posted by Judith, the photograph was taken by JOHN McCOLGAN/BLM Alaska Fire Service.

-- Altaf Shaikh (bshaikh@nyc.rr.com), September 26, 2000.

actually, altaf, i think the contemplation of a photograph such as this is helpful to any real understanding of how exceptional pictures come into being. in so many cases, there is a strong element of the tired cliche', "f8 and be there". the "elkfire" image is typical. no doubt any number of photographers who happened to be where this gentleman was in possession of any sort of competent camera could, and would have presented a very similar result. of course, one could argue that he has displayed talent in awaiting the "decisive moment" of composition as the elk moved into place. that may be true, or it may have been luck. photography is not usually so demanding of intimate, conscious control of the imaging process as is painting, for instance. it is often the art of the accident. joe rosenthal was on iwo jima for better or worse, and it is certain that he didn't conceptualize and direct the positioning of each of those marines. of course, he very likely sensed the point at which their bodies were in such exquisite tension and communicative combination, and he is to be honored for that ability to capture in at least one frame, an unforgettable image. consider the many well-known photographic artists who have been fortunate enough to have had a session with the legendary ms. monroe: who among us could have failed to come from two or three hours with her and a leica without producing at least a couple of stunning images? of course, it may be that eisenstadt would have captured more of them, or one or two that were of greater impact; but the primary component remains the opportunity to be there and touch that release. in short, how many of us, given a set of paints and a canvas, and the rest of our lives to do so, could have presented the world with "starry night", or "mademoiselles d'avignon"? still, that element of the possibility of greatness may be why so many of us love this medium. each of us walks every day with the potential to capture grace, beauty, drama; even fame. it's a hell of a way to pass the time.

-- wayne harrison (wayno@netmcr.com), September 26, 2000.

I think you are mistaken about Iwo Jima.

-- Altaf Shaikh (bshaikh@nyc.rr.com), September 26, 2000.

well, altaf, i raised several different points concerning iwo jima. perhaps you could be more specific regarding my errors. of course, you could be suggesting that i am wrong about all my observations; but i just can't tell from the nature of your response.

-- wayne harrison (wayno@netmcr.com), September 26, 2000.

I'm sorry, but I've seen too many forest fire pix to think this is an exeptional example and worth it to be placed here 'off topic'. I do realize that the the fireman made a good photo and that it's a terrifying event, but still... there are more and better pictures of forest fires and animals to be seen.

-- Rolf Rosing (rcrosing@dds.nl), September 26, 2000.

I think this is the best forest fire photograph I have ever seen (and I have seen many). I think it appeared in our local newspaper (maybe national?). It is sure poignant and saddening, even if (or as) it was caused naturally. I am surprised to see the color of green of the folage in the forground in such a backlit photograph.

-- Tony Rowlett (rowlett@alaska.net), September 26, 2000.

fire

I also think this is a very good image. And yes if any of us were ther we could have captured the same thing. But none of "us" were ther just as Rosenthal was the only photographer at the first raising of the flag on Iwo. Serrendpity is a wonderous thing. Many photographers did get to shoot Marilyn but only those with vision did it right. Without those elk this would be just another fire image but this guy was lucky and the elk really make this image a good one. Knowing how bad this fire was I wonder if the elk survived. James

-- james (james_mickelson@hotmail.com), September 26, 2000.

Sorry wayne, what Altaf is referring to is that the Iwo Jima photo was recreated for the camera. It was inspired by the actual raising of the flag which I think Rosenthal did witness, but the famous photo is of a recreation, made minutes ( ? ) after the actual raising. Now consider that the soldiers in the photo were very battle weary and the tension and unified effort to raise the flag were quite genuine. A beautiful and poignant image regardless (not completely unlike R. Doisneus' kissing couple in Paris, also an orchestrated (albeit heartfelt) event. Think no less of this image for this, for the thing it represents was indeed horrible and glorious.

Anyone who can confirm or refute this info, please do so... t

p.s. This firestorm photo is indeed eloquent. The veiw point of, and empathy for the elk sets it off from so many other images of similar events. Contrasting and contextualizing the condition of modern "people", our impact and (self) imposed responsibilities. I have often thought that certain photos of mine, that have no human form actually in the picture, would still be well suited to this forum, because of the overwhelming, though non-visible presence of "people" therein... t

-- tom meyer (twm@mindspring.com), September 27, 2000.

That's the Battle for Iwo Jima, that was horrible and glorious, not the Parisian Kissers, which was wet and glorious... t

-- tom meyer (twm@mindspring.com), September 27, 2000.

Tom thanks for clarifying my above answer.

I too was greatly moved by that particular picture (obviously). Photography to me is not about magic tricks or how many thousands of lights you can use at one time without making a mess; nor is it about the daughter you just sold for your new Zimbowonderflex with 9000000000 mm of rear rise. Results impress me not excuses, not toys, and definitely not talk. I don't care if it was shot with the Hubble telescope or my friends daughters Barbie cam as long as the image has a soul and therefore something to say. Hell I don't even care if it was a person that shot the image purposefully. Try going to a portfolio review or to show your portfolio to an editor bring your camera instead of your portfolio. Tell him/her about the time you didn't have, the image you couldnt get, the reason why you couldnt take your zimboflex out into the rain because it might have gotten wet and god forbid scratched to lower its resale value. Tell them about the dog you had to walk, the room you had to clean, the film you could not afford etc. Tell them all of this and see where it gets you.

It's easy to get lost in the process and not see the goal clearly anymore, and that's where many of us (myself included at times) get lost. The person that shot this particular image had the presence of mind to take the picture and even more so to actually have their camera on them at the time of the event. I hear plenty of excuses "I don't have time this week to shoot." Well guess what this is what happens when you find the time, amazing huh?

Even though this is a people photography forum I felt that the image was so human (in the best meaning of the word) that you really did not need a person in the image to post it. I doubt even HCB could have a problem with the soul of this image; it is definitely not a bunch of shrubs and rocks. Those who know of the man know what the last comment is referencing.

This post is definitely sarcastic, sardonic, belligerent, and simply me ranting at the wind. Good thing Trib isnt posting comments lately, I think dont think any forum could take the both of us going off at the same time, sort of like matter and antimatter existing in the same space at the same time. Poof.

-- Altaf Shaikh (bshaikh@nyc.rr.com), September 27, 2000.