Harbinger: noun
1. one that goes ahead and makes known the approach of another; herald.
2. anything that foreshadows a future event; omen; sign.
Harbinger No. 11 - Wyoming - 2009
Harbinger No. 13 - Florida Coast - 2009
Cole Thompson is an American photographer who works in black and white. I first became aware of his work through his excellent Harbinger series and was struck by the intensity of his image making. Cole has generously agreed to provide examples of Harbinger for this months guest gallery and told me about his working approach as follows…
“While living in Rochester, NY, I stumbled across an old building associated with George Eastman, which led to my reading of his biography. Before I even completed the book, I knew that I was going to be a photographer and for the next 10 years, photography was my complete existence. If I wasn’t taking pictures or in the darkroom, I would spend countless hours looking at every book and image I could find. There was nothing in my life except photography.
Even at this early age I found myself drawn to a particular style of image, one that would literally cause a physical reaction in me. They were dark images created by Adams, Weston, Bullock and others. I knew that I was destined to create such images. I am often asked, “Why black and white?” I think it’s because I grew up in a black-and-white world. Television, movies and the news were all in black and white. My heroes were in black and white and even the nation was segregated into black and white. My images are an extension of the world in which I grew up.
Harbinger No. 1 - Utah - 2008
Harbinger No. 8 - Las Cruces, NM - 2009
An important early influence in my life and my art was the poem “Invictus” by William Ernest Henley.
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of Circumstance
I have not winced nor cried aloud.
Under the bludgeonings of Chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find me, unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
For me, this poem evokes dark and contrasty images, which form the basis and inspiration for my photographs. Darkness in my images represents the trials of our human existence while the light represents the strength and power that comes from the realization that we are the captains of our souls.
The Fountainhead No. 29 - Denver, CO - 2010
My most recent project, The Fountainhead, is a series of abstract architectural images that are based on the philosophies espoused in the novel “The Fountainhead” by Ayn Rand. Rand has been a powerful influence on my art.
To develop my own vision, I have been engaging in a somewhat unique and controversial practice of not looking at other photographer’s work. Perhaps the best explanation comes from one of my blog entries: Some of you are familiar with my admittedly odd practice of not studying other photographer’s work. It’s something I’ve been doing for about 2 years now and it’s always been met with curiosity, dismay and sometimes even a little hostility. Several years ago I came to the hard realization that I was not creating with my own vision, but rather I was copying the style and even the images of my revered childhood hero. The full impact of this hit home when I was attending a Portfolio Review at the Center in Santa Fe. One of the reviewers said that it appeared I was trying to copy Ansel Adams and Edward Weston’s style. When I responded that I was, because I loved their work, he very bluntly pointed out that Ansel already did Ansel and that no one was going to it better than Ansel. At the time those were very hard words to hear, but over the next year I came to agree with him and it started me on the quest to create with my own vision.
Harbinger No 3 - Oregon - 2008
As I analyzed how I was working, I came to the conclusion that when I studied another photographer’s work, I was imprinting their style onto my conscious and subconscious mind. And then when I photographed a scene, I found myself imitating their style rather than seeing it through my own vision. To overcome this tendency I decided to stop looking at the work of other photographer’s, as much as was practically possible. So for the last two years I’ve tried it; I’ve not read my B&W Magazines, poured over my LensWork or sought out great photography on the web. It’s been hard, and at times I’ve felt like a celibate monk working at a nude beach!
Has it worked? Yes, it has had a positive affect on my art and I feel that my images are increasingly “me” and not just copies of someone else’s work. I’m making progress and when I think of my projects such as The Ghosts of Auschwitz, The Lone Man and the Harbinger series I’m pleased with my “direction.” I don’t expect to continue this practice forever. Once I’ve better developed my vision and have become more disciplined, I’ll return to enjoying black and white photography which has been my first love since the age of 14. But for me, at this time, and for where I’m at creatively; photographic celibacy is helping!
- Harbinger No 2 – Bandon, OR – 2008
You can see more of Cole’s work by visiting his website Cole Thompson Photography or see the full Harbinger series here or by clicking on any of the images above.
