John Wimberley's photographs are populated by an abundance of pictorial elements: clouds, rocks, ravens, stones, mists, trees, grains of sand, feet; and it's extraordinary how he repeatedly gets these elements to work in his photographs. Sand grains line up perfectly to mirror ripples of light in the clouds above. A cloud in one corner of a photograph echoes the form of a tree branch in the corner opposite. Clouds in another photograph compliantly rise from the rooftop vent of a shepherd's wagon. And, where it would be rare for a raven to be seen sitting on a rock, there are two ravens in that photograph.

Without knowing how John works, one might come to the belief that here is a man who waits patiently to capture the perfect moment; he has certainly had the time. For the past twenty three years, John has earned his living from print sales and, with the resulting freedom, he has often loaded up his Volkswagen van and driven off alone into the landscape to photograph for weeks at a time.

However, I've seen the proof books from his more recent trips, and those proofs show that John likes to click a shutter, and that he does so under a full range of lighting conditions. So, I know his photographic "luck", as such, does not come from setting the camera up and, then, waiting patiently until something like a bolt of lightning comes along to strike the object of his focus.

That said, one could also come to the belief, on the opposite end of the spectrum, that John's extraordinary grasp of the moment is the result of extensive editing, his shutters having clicked a gazillion times. But again, I've seen his proof books. There are not that many, so, this can't be his strategy either. Besides, he uses a camera kit which does not lend itself well to the strategy of overshooting.

John's camera, an all-metal, 5x7 inch Sinar view camera, together with 6 lenses and its carrying case, weighs about 30 pounds. Add to that the 6 loaded film holders he likes to carry in the field, which weigh 12 ounces each, and the 15 pound metal tripod he carries over his shoulder, and John is packing at least 50 pounds on his back when he leaves the van to go photographing. And, at that weight, which is nearly half his body weight, there is precious little room left over in his kit for extra film to be overshot.

So, if he doesn't undershoot, and he doesn't overshoot, how does he manage to come back consistently with such miraculous photographs? At times, I've fantasized that John is capable of willing the elements of his photographs into being. If a cloud is needed, he simply commands it to appear. Just as he might will rocks into position and summon ravens from the air! But, no, it can't be that either.

I know John to be a caring husband, teacher and practitioner of Yoga, student of Volkswagen van maintenance, reader of Tarot cards, and a former aviation electronics technician. But more importantly, especially for an understanding of how he photographs, one needs to know that John Wimberley is an animist: someone who believes that natural phenomena and objects, as rocks, trees, clouds, etc., are alive and have being.

Believing as he does, John goes into the field seeking to establish a deep relationship with whatever elements, the subject, he happens upon. Walking through the landscape, he consciously works on becoming present, in the moment. He is aware of his breathing; he stretches; and he is also aware, through his feet, of contact with the ground.

When he comes upon a subject, he approaches it with respect, engages it, and asks permission to photograph. If no permission to photograph is felt, he moves on. Otherwise, where he feels that permission given, he proceeds by opening all his senses and becoming receptive to what is there. Reality takes on a dream-like state, and he allows photographic images to rise effortlessly into his awareness.

In setting up and adjusting his equipment, he stays in touch with himself and the subject. Set up, he holds the visualized image of the subject in his entire being as he releases the shutter. Immediately after making the photograph, he thanks the subject.

So, John Wimberley doesn't undershoot or overshoot, he simply enters into a deep relationship with the subjects he has been given permission to photograph, and gives the elements of these subjects the space to be whatever they are: clouds, rocks, ravens, sand, feet, etc. Moreover, he has no need to command elements into place, because they are perfect right where they are. That's where they want to be. As John has told me, sometimes he doesn't know who the photographer is, himself or the subject.

-Georgette Freeman
San Francisco, CA
January 2, 2000