People sometimes ask me why my projects don’t all look the same.
I take it they mean they are a bit perplexed when my projects go from (for example) drug addicts to federal infrastructure to the suburbs.
Well, I only photograph what I’m interested in learning about and I believe that you don’t learn that much by just plugging some preordained approach or style into what you’re photographing. That’d be called consistency. And while certain consistencies are important in photography, other consistencies are just a way of going through the motions without really thinking (too much). The world is so complex, so multifaceted, that looking at it from just one angle really doesn’t do it justice.
Of course it goes without saying that the stress of our years since birth boxes us in, creates our biases and informs how we see and understand the world. But within that box (which is always reinforced by the powers that be) there is a lot (or, maybe, some) wiggle room.
I bring this up because I’ve been looking at Bryan Schutmaat’s new book, Good Goddamn.
Bryan’s first book, Grays the Mountain Sends, is a classic. One of those rare beasts that is easy to like, popular and worthwhile. A beautiful collection of Western landscapes, interiors and portraits of men (except for the very last image, a photograph of a woman), all shot in atmospheric light. It’s impossible not to sense the feelings accrued in this book: lonesome, desolate, lovelorn, melancholy.
His subsequent book, Good Goddamn, is different in a few ways:
• The images here were shot “in Leon County, Texas, over the course of a few unseasonably warm days in February, 2017”.
• Those images show us one thing: a slowly (but not too slowly) unrolling event (or what many, especially those not connected to it, might consider to be a non-event).
• The photos are black and white and not always entirely sharp.
But Good Goddamn only looks different from Grays the Mountain Sends. The underlying feelings remain the same: mystery and melancholy, lonesomeness and desolation. They (those feelings) are just rendered in a different way, using a different approach. And in Good Goddamn the approach feels right and honest.
It’s great to come across photographers who don’t always fall back on the tried and true. Because so often what is tried and true for one thing, for one subject, for one time of your life, will not be true for another. It’s only by trying (present tense, as opposed to “tried”, past tense) that you have a chance of approaching some truth. When you try instead of settling, that’s when honesty has a chance.
A couple of actual reviews of Good Goddamn:
“‘Comparisons are odious . . . . It don’t make a damn frigging difference whether you’re in The Place or hiking up the Matterhorn, it’s all the same old void, boy.'” ~Jack Kerouac, The Dharma Bums
a newsletter / tony fouhse
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