The
Capture
By Chris Carnel
Heckler co-Founder and Special Projects Photographer
My good friend
Sonny, who edits this magazine, occasionally tells me with
a smile on his face while shaking his head, Dude, photographers
are just weird. I kind of agree. We arent the
everyday mainstream worker bees. How could anyone normal look
at the world the way a
photographer does? We tendto experience things in amostly
solitary manner with flash power settings, EV values, and
F-stops in our head. When photographing thingsalone with just
you and your camera, daily life takes on adimensional shape
of colorschemes, compositional elements, possible motion blurs
(panning), and before the click even happens, the decid-uous
duty of documenting what seems so important or compelling.
How will I capture this? is foremost in my
neurotic mind. After the click of the shutter, that previous
thought soon becomes, I hope I got it.
High levels of trust in your processing labplagues all this.
And just for fun, throw in the physical ailment in the form
of a backpack and its arsenal of lense arching your back in
ways not meant for the human spine to be stressed upon (Iespecially
feel sorry for you 16mm film guys). Im not at a
stationary desk, and Im not straightening a tie. Im
in the trenches (so to speak) experi-encing life in a way
most people will never sense, witness or quite comprehend.As
a photographer, Im part
of my environment whether its rain, snow, sun or fog.
Im also in my head and by myself when the moment to
shoot arises. Wherever I am in whatever part of the planet,
be it snow, cement orbright lights projectingthrough pitch
black, I want to capture it. That becomes my instinctive plea.
We are the fucking lensmen (or lenswomen) with a long ass
lens today, maybe a small wide-angle lens tomorrow. Just watch
out for aggressive people who might want to kick your ass,
like Sean Penn and Tommy Lee. Theyll winbecause us photographers
areweird introverted sissies. But its all worth it,
just as long as you fired back in time and got the shot.