Learning to See – Contemplative Photography

Morning Water (Available on Imagekind)

Photography is a form of meditation for me. And I think it is for many others as well.

While meditation used to be considered an Eastern spiritual practice, it has taken off here in the West.

In Western religions, contemplation is a term used to describe a mystical way of seeing or a meditative type of prayer.

In secular terms, contemplation means to “consider with attention.” (Merriam-Webster)

This word is often understandably confused with the word “reflection” which, according to Merriam-Webster, means “consideration of some subject matter, idea, or purpose.”

The actual practices of contemplation and reflection, however, couldn’t be more different.

I heard it described by a monk (seriously versed in the contemplative way of life) that reflection has to do with looking back and remembering, and then reflecting on the meaning of your thoughts.

Contemplation, however, has nothing to do with thoughts or looking back. It is about being here now, in the moment, and seeing (considering) reality exactly as it is, without judgment or interpretation.

So, what is contemplative photography?

A few weeks ago, I wrote a post about the monk, Thomas Merton, who was well-known for his contemplative way of being and seeing. He called contemplation “a long, loving look at the real.”

I love that!

With regards to photography, or any other art for that matter, Merton advises to:

Stop looking and begin seeing. Looking means you already have something in mind for your eyes to find. But seeing is being open and receptive to what comes to the eye; your vision total and non-targeted. (Song for Nobody, p. 133)

In the book, The Practice of Contemplative Photography, the authors write that contemplative photography is about aligning eye, mind, and heart. It teaches you to appreciate the world and see it with fresh eyes.

Contemplative photography is more than a form of self-expression. The photographer actually identifies with the subject so deeply that the essence of the subject is expressed. There is nothing conceptual or interpretive going on. Instead, the image reveals “the unfabricated truth.”

Conventional photography, especially commercial or self-expressive, tends to be conceptual. The photographer purposely looks for subject matter that stands out, or is considered beautiful or awe-inspiring. There is nothing wrong with this type of photography. It’s what most of us do and it can be very effective. What I am trying to show are the differences between the two approaches.

I believe that contemplative photography can be just as or more effective than the conventional approach. Concepts, perceptions, and interpretations can be limiting. The real world is constantly changing and offers unlimited perceptions and potential for creativity.

Here is an excerpt from the movie “Smoke” with Harvey Keitel, that I believe is one of the best explanations of the contemplative life I have ever heard.

Keitel plays Auggie Wren, a cigar store owner in New York City. Wren has taken a picture every day from the corner of Third Street and Seventh Avenue at eight o’clock in the morning. His collection includes more than 4,000 pictures.

Auggie’s friend (played by William Hurt) doesn’t get it, saying that the pictures all look the same as he flips through the album. Keitel responds,

You’re going too fast. You’re hardly even looking at the pictures. You’ll never get it if you don’t slow down, my friend.

The Practice of Contemplative Photography
Song for Nobody, Memories of Merton by Ron Seitz

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