Thierry Maindrault’s Monthly Cogitations
They say that I am grumpy, backward-looking, pessimistic and that I understand nothing of the splendors of contemporary images. No hasty generalizations, this is only true for those that come out of nowhere or from a box with a belly full of electronic components. I would be blind to the masterpieces of the new emerging “Leonardos”. I would be impervious to the beneficial miracles of collective remuneration (with their offices of obscure distribution calculations) of copyrights. I would be sectarian not to be enthusiastic about generous public subsidies. to encourage projects, often without head or tail. Only a primary interest comes down to the amount of public money spent. I would remain impervious to the shoddy quality of the works that are displayed, en masse, in all places and at all latitudes. I would be doubtful, even ulcerated, by these waves of a globalized culture which belches billions of photographs generally of unbearable debility.
All these remarks, I fully accept them, because all these points and a few others must challenge us, question us, motivate us to sincere reflections on the future of Photography, Art, Culture, their impact on our evolution and on the heritage entrusted to our descendants.
However, is it not said that it would be unwise to throw the baby out with the bath water!
As one of the largest gatherings of photographs on our planet opens in Paris, mixed with a hint of gigantism and self-destruction, there remain good reasons to hope. Particularly for the rational optimist that I keep, despite everything. There is a solution to every problem provided that the origin of the difficulty is correctly identified.
The idea of working with light is not going to die out any time soon. In all professions, light has become an essential and miraculous partner. Medicine, industry, communication, security are subject to these few waves which play so well with matter. For their photographic use, the families of light use an immense palette of very varied techniques. It is probably this range which will, in the medium term, bring photographers back to reason and certain photographic productions into the world of dialogue and creation.
Some encouraging signs appear with the arrival of new works on the market. Mired in narcissistic social networks and the abundance of soulless prints, audiences question themselves when they find themselves in front of images worthy of the name, as soon as the opportunity presents itself. If they look differently, if they interact with photography, if they find emotion; then the author is on the right wavelength. From the moment the reader differentiates, educates himself, marvels at an image, recent or old, quality photography regains its rights.
For example, I want these future brides and grooms looking for photographers on files with references. For them, there is no question of doing like their friends with their handyman equipped with a drone and a smartphone. Subjects no longer want to lament over catastrophic images of a memorable day.
This web designer requires real professional photography for his designs. not to spend spent hours on impossible touch-ups that are not part of his job.
Good training schools have reinvested in equipment and premises that cover several photographic technologies. There is less and less talk of supporting pseudo-creations likely to attract attention on the internet. Pedagogy focuses on learning everything that will enable the future achievement of convincing results.
Technical diversity is also back. Some call these niche markets. However, films, products, new devices, all very far from digital photography, are available again. Old technical manuals are reissued.
The large laboratories are re-offering services that had disappeared from their catalogs. All forms of treatment, all forms of achievement are back. The difficulty consists of finding competent personnel, after the departures of the lords of the laboratory, without disciples. An entire generation has missed out. With a little patience, the most talented young people will take up the torch.
Even digital techniques are rightly seeking their place in this renewal and that is perfectly normal. It is not because most of humanity has fallen for this that we should shout – haro – about very interesting new possibilities for doing photography.
We all know that there are no bad techniques for making a photographic image. There are excellent photographers, good photographers, and less good photographers. There are also a multitude of people who have nothing to do with a camera. Even if it is a question of treating their few psychological ailments.
Finally, there remains the essential: passion. Because photography sticks with passion. The use of photography, since its origins, has always rhymed with a passion. Whether professional or amateur, photographers put their love of photographic production above their demands. This pervasive passion has not given up an inch of ground in the generations of “…those who know how to do everything….”. Renunciation is not photographic. I am beginning to rediscover (timidly since they have little understanding of the very concept) this passionate commitment among people under forty. It is certain that their personal involvements are still very far from the personal investments of our valiant ancestors. It is not easy to get the machine running again.
But while too many photographs have killed photography and photographers, it is appreciable to see the phoenix reborn through a multitude of clues which suggest better days.
Thierry Maindrault, November 8, 2024
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