[pure-silver] Re: On the flavor of metaphoric vision

I'd guess that some painters "work" space, (plan, test, explore, intuit) but do some of you? As a man-in-the-street with-a-camera I sometimes can savor your prints; but the way my "mind" images whole operas in one scene the interplay of space and objects come as a whole not to be figured out but to be manifested with location, props, or symbols ( often metaphoric parts for the whole ) makes me wonder if this "persistent way" is how others work. It would seem to me that the plane of focus, the depth of field, working the placement of objects in space readily come to mind as ordinary considerations of the photographer as he sees what is before him. I get "smacked" with a mini-rush when an associative match occurs in my imagination, I watch the elements elaborate themselves as the discovery elaborates itself. I then jot down a few key terms and make a hasty sketch which gets pinned to the board for longevity proving. These persistent visions most likely occur from a "kind" of an understanding of words read. "Taking" pretty or handsome pictures per se doesn't interest me. In my work world I often need to take effective, or informative -obvious pictures and the "hidden" doesn't entertain my attention. Some of you have been talking about "making" pictures in the darkroom while for me it is a celebration-of-understanding that happens sans camera, darkroom, or print for that mater. More like playing mental chess. I don't really get to choose the subject matter only whether I watch and then note the happenings. I'm very ill at ease to work in the world for the subject matter is never obvious to passers-by who understandably come to projecting their self-doubts upon me for surely they are dressed as finely as any King so it must be "his" (the photographer's) mind that is naked. For example, the would-be image has these elements: a wooden rubric cube in a white porcelain toilet that is outside; the ground amounts to a broad, flat stream of water that is reflecting the blue sky with puffy white clouds, the water's bed is rather flat but does have many good size pebbles that are large enough to break the surface of the swift moving water to effect a mini white-cap; conifer tree trunks confirm the location (outside/nature). The camera view point is from the middle of the stream, looking down and into the toilet with the stream easily flowing around it; the horizon is not really expansive but across the upper portion hangs the shaggy edges of fir trees. A second example: has these elements: a double doorway into a large dark space (room), a sturdy, simple table whose legs wear simple clay pots, upon the table is an over flowing great mound of musical horn instruments; overall the lighting is low-key so that only the high-lights on the metal plays the tune. Figuring out the "how to do it" captures my attention for some time. The gestalt is there en toto from the beginning. Were any of you Jungian analysis you're welcome to kibitz yet I know what I was reading and the purport. At $150 to $250 an hour for a shrink I might as well have an expensive hobby. So like the woman moving the curtains in the opening scene of the movie, Tin Men, people wonder what I'm doing. Of itself so. 
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