to järna with love (xvi)

I’m going to post some of my photos from Ytterjärna on my flickr-account. Everything over there, on flickr, is temporary, since there’s a limit of 200 images (if you don’t pay for an upgrade). It’s not so bad, it means you have to constantly revise what you show, remove photos to post new ones. (The Järna-photos I’ve posted on the blog are still there, see the tag: järna.)

To a certain extent, I feel that I hide behind the camera. It becomes a mediator between me and the world. I don’t think I would have gone to Järna without it, because I’m not sure I could have. I need to see the world through something; I need to see Järna as pictures, not as reality. I’m focused on the small things. On vision. Experience as vision and the replication of vision in pictures. This isn’t what I saw, in a literal sense; photos are a lot less literal than we’d like to imagine, I think. But it’s the picture I made as I avoided a direct experience. It’s a small section of what met my eyes, rendered deceptively into a photograph. It’s a dream world, isn’t it?

Large version on flickr.

4 thoughts on “to järna with love (xvi)

  1. You could indeed call it a ‘dream world’. That’s OK with me so long as doing that doesn’t in any way diminish what you have done.
    The camera lens does not see as the human being sees. No artist actually reproduces what is seen. Something new is always created. You have made a selection from what is available to point your camera at. Then the questions can arise, ‘Why did she choose just this scene, with the dormer window just visible, just this lighting, -why did she choose black and white?’
    But you don’t have to answer any of these if you don’t want to. The image exists, it is beautiful. Hopefully you enjoyed making it.
    I don’t see any deception anywhere.

  2. Thank you, falk.

    I did enjoy it, though this photo was pure chance. I walked on a path and saw that path on the picture leading up to the house. I was walking from the gardens down by the sea back to Kulturhuset. It looks serene, and like this is a solitary house out in… nowhere. It could be anywhere. It’s not, of course. The building predates the anthroposophical presence in Järna, I would guess, and was thus of no immediate interest, I mean, from an anthro architecture viewpoint. Thus, the perspective chosen is probably just convenience, I took it from where I was walking or standing, not thinking more about it. This can sometimes be good, as in this case, you don’t see the whole house, but this contributes to the ‘mystic’ impression. It looks so private, even if it isn’t. ‘This is our world’.

    The pictures preceding this one were of butterflies and flowers; they were black and white too. I think I was quite miffed with myself that I’d forgotten to change to colour. Though for this picture, I would have returned to b & w; if I had remembered.

    B & w is more timeless. Colour photos always tend to capture some modern junk which ruins the overall impression. And anthroposophists tend to paint their houses pink and blue… it’s not always pretty, some houses in Järna have this really strong blue colour at that. I think this house was white or something netural, but, in general, anthro buildings benefit from a b & w treatment.

    If I hadn’t had a digital camera, I probably wouldn’t have ‘wasted’ film on this house, since it wasn’t what I came to see primarily. It’s a random shot. Turned out better than many of the (more or less) planned photos though!

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