Michael Freeman in his 'The Photographer's eye' book brings attention to Zen practice and its relevance to photography. He noted that "a significant number of photographers have expressed an almost spiritual communion between their consciousness and the reality around them while shooting, and this surely is not far from the spirit of Zen" (Michael Freeman, p. 164). He refers to the opinions of some well-known photographers; I find the following quote from Cartier-Bresson particularly helpful:
"In whatever one does, there must be a relationship between the eye and the heart. One must come to one's subject in a pure spirit".
There is also a beautiful reflection from Daisetz Suzuki,a Zen scholar:
"If one really wishes to be master of an art, technical knowledge of it is not enough. One has to transcend technique so that the art becomes an 'artless art' growing out of the Unconscious."
Freeman goes on to describe a "letting go", an emptying of the mind skill which he considers important in preparation to a photoshoot, and generally in photography. His "learn, empty, react" process appeals to me strongly. Freeman advices "to practice at maintaining a direct connection with the situation and subject, while clearing the mind of the much slower deliberations", such as the compositional and technical issues at the time of a shot. "Don't think of what you have to do, don't consider how to carry it out!" Eugen Harrigel, from M. Freeman (p.164).
The relationship between the eye and the heart is very important. There is a beautiful quote from "The miracles of mindfullness" written by a Buddhist monk Thich Nhat Nahn. I find it inspiring...
"When reality is experienced in its nature of ultimate perfection, an almond tree that may be in your front yard reveals its nature in perfect wholeness. The almond tree is itself truth, your own self. Of all the people who have passed by your yard, how many have really seen the almond tree? The heart of an artist may be more sensitive; hopefully he or she will be able to see the tree in a deper way than many others. Because of a more open heart, a certain communion already exists between the artist and the tree. What counts is your own heart. If your heart is not clouded by false views, you will be able to enter into a natural communion with the tree. The almond tree will be ready to reveal itself to you in complete wholeness. To see the almond tree is to see the way.
One Zen Master, when asked to explain the wonder of reality, pointed to a cypress tree and said: "Look at the cypress tree over there." (p.58).
"In whatever one does, there must be a relationship between the eye and the heart. One must come to one's subject in a pure spirit".
There is also a beautiful reflection from Daisetz Suzuki,a Zen scholar:
"If one really wishes to be master of an art, technical knowledge of it is not enough. One has to transcend technique so that the art becomes an 'artless art' growing out of the Unconscious."
Freeman goes on to describe a "letting go", an emptying of the mind skill which he considers important in preparation to a photoshoot, and generally in photography. His "learn, empty, react" process appeals to me strongly. Freeman advices "to practice at maintaining a direct connection with the situation and subject, while clearing the mind of the much slower deliberations", such as the compositional and technical issues at the time of a shot. "Don't think of what you have to do, don't consider how to carry it out!" Eugen Harrigel, from M. Freeman (p.164).
The relationship between the eye and the heart is very important. There is a beautiful quote from "The miracles of mindfullness" written by a Buddhist monk Thich Nhat Nahn. I find it inspiring...
"When reality is experienced in its nature of ultimate perfection, an almond tree that may be in your front yard reveals its nature in perfect wholeness. The almond tree is itself truth, your own self. Of all the people who have passed by your yard, how many have really seen the almond tree? The heart of an artist may be more sensitive; hopefully he or she will be able to see the tree in a deper way than many others. Because of a more open heart, a certain communion already exists between the artist and the tree. What counts is your own heart. If your heart is not clouded by false views, you will be able to enter into a natural communion with the tree. The almond tree will be ready to reveal itself to you in complete wholeness. To see the almond tree is to see the way.
One Zen Master, when asked to explain the wonder of reality, pointed to a cypress tree and said: "Look at the cypress tree over there." (p.58).
