Aaronstadt Little White Book

Additional 'Random' and somewhat obscure Ponderances, Musings, and Deep Thoughts ( * . . . not required reading )

Those of us who capture and manipulate light and shadow by carefully thought-out compositions and perspectives have long realized that 'photography', far from being a 'soft' or 'psuedo' art form, may be, the ultimate art. Our canvas is not fabric or pigment, stone or clay, it is in fact the entire world in which we live. That statement is validated not only by what we 'produce', but by what we 'induce'. The image, the visual revelation, is only a small portion of the canvas. It is the 'fabric' to which the pigment of memory, emotion, awareness and reason are applied. In some respects it is the most abstract and yet meaningful of all artistic forms. For to be totally realized, the image must be accompanied by the memories and feelings concurrent with the image itself. It is in essence, an entirely unique and original art form to each individual who encounters it.

Photographing weddings is an incredible way to experience and proliferate this artform. It is an awesome responsibility to be chosen as the artist tasked with documenting and rendering the events that will take place. There are so many emotions present, so many perspectives to explore. The images that are captured will induce memories for years, decades, generations to come. Each friend and relative will experience those memories in their own way. An artist that is 'aware' may produce a visually beautiful image but it is the perception of the person viewing the image that makes it complete.

The realization of this symbiotic relationship between the artist and the subject / observer as truley experiential and not simply a static 'snapshot' elevates the quality of the experience and the creation of the art. The 'Relationship' paradigm establishes a minor though significant contradiction to the common school of thought that 'the artist is in complete control', and instead presents the premise that we are no more 'in-control' than we would be if we were flying a kite. The artist, who is holding the 'string', may 'direct, exert and suggest' but when it comes right down to it, is at the mercy of the their own experience and expertise, the design of the kite, the strength of the string and the whimsy of the wind.

That, of course, begs the question, . . . the answer to which is; I fly the big expensive stunt kites as well as experimental designs and prototypes, and I am really good at it.