Rangefinder Magazine
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Outside the Box with Robert Hughes: by Peter Skinner
Making the Usual Unusual

Regardless from which perspective you look at the creations made by Columbus, Ohio, imagemaker Robert Hughes, quickly you come to the conclusion that they are definitely unusual. In fact, one of the creeds by which this musician-turned-photographer creates is “make the usual, unusual.”

And if there is one series for which those words are ideal, it is Hughes’ “outside the box” images, thought-provoking creations which carry titles such as “1024” and “Outside the Box #1” and “Games People Play” and over which the observer can puzzle to make the title fit, or apply one’s own imaginative interpretation of the artist’s meaning or message. (See http://www.ameritech.net/users/roberthughes/).

For example, “1024” (below left) looks like the 3D images that pop from the page when you look deep into the picture, not at it. It contains one thousand and twenty-four different, distinct and unique images within its interior frame. Hughes said that each individual element within “1024” was manipulated on a 21-inch monitor at full screen size at a resolution of 1024 x 768, until each became a unique, stand-alone work of art.

The artist’s description of the image is as thought-provoking as the work itself. “The interpretation of ‘1024’ is ambiguous. At times ‘1024’ symbolizes an aerial view of a community which has built its dependence and existence around a ‘silicon god.’ At other times, the symbolic nature of the number 1024 and its inter-relationship to the image could be relevant,” said Hughes. And then he adds yet another element to the equation: 1024 also happens to be the number of kilobytes in one megabyte.

One could be forgiven for thinking that this innovative and pioneering imagemaker—whose work has been described by some observers as pure genius—would’ve been introduced to photography in some equally revolutionary and cataclysmic way (you know, bolts of lightning lighting up dark storm clouds and evoking the observer to comment—“I must photograph that!”) but the actual need to make a photograph was quite routine, almost pedestrian.

As Hughes describes it: “What brought me to photography was the need for a family pet photograph. And the final decision to become a professional was made after being told that I had zero talent as an imagemaker.” He then wryly adds: “It is perfectly normal and natural for left brain people to not comprehend or understand the language of ambiguity.”

Following another traditional start to learning photography, Hughes began by purchasing photographic books, and followed sage advice from his father who had commented that if one wishes to discover the secrets of the world, one need only read. Hughes’ father also added, “the best way to keep a secret is to write it in a book.”

As is so often the case with successful photographers, Robert Hughes was blessed with musical talent and played, as he describes it, “ A little bit of everything but mainly guitar. I made a living in the music business for about 22 years. I hope that I was considered professional. I was initially drawn to science fiction, Mad comic books, ‘Sun’ records, jazz and blues but once again, I like most any music or vehicle that can effectively communicate feelings and emotions.”

And he does think there is a definite correlation between music and photography, pointing out that much musical terminology/jargon applies directly to photography. “The overall concept of music as the composition, applies directly to photography. Other translations such as creativity, tonal values, spontaneity, tension-resolution management, abstractionism and other things are applicable as well,” he said.

Hughes said that while still a musician he became aware of Henri Cartier-Bresson and Jerry Uelsman, and after building a large collection of photographic books, he became familiar with the work of most, if not all, masters of the medium. “Around 1993 I joined a professional organization and began attending seminars. On one occasion, I even called information for Jay Stock’s telephone number after reading an article about him,” he said.

It was while learning his craft through the teachings of others that Hughes was encouraged—“goaded” may be more apt—into creating his “outside the box” series. “I got sick and tired of seminar speakers stating that photographers need to get outside the box, without providing any real, practical examples. At some point I took this literally and began creating images that started with one black box. A single black box is the only criteria necessary to begin an image in the “Outside The Box Series.”

“Beyond the obvious implications, symbolism, ambiguities, multi-layering and mystery of each of the images, there is a hidden switch that reminds visual communicators to locate the switch that enables each image to transcend traditional boundaries. This is not exactly “Where’s Waldo?” but more like “Where’s Waldo’s concept?” Some of the switches are extremely hard to find and may not even be on the same page as the image. But most are!” he said.

For example, Hughes points out that “1024” is an image, which has been generated by the computer. “Having said this, I don’t wish to leave the impression that one need only to turn on the computer, click the mouse, and out pops an image. ‘1024’ represents a full, one-year commitment of off and on re-workings,” he said. His other works in the series also pack visual impact—they are comprised of triangles, rectangles, squares and orbs, abstract images that draw the eye in and through and about. “Games People Play” conjures up images of everything from tic-tac-toe (noughts and crosses in some parts of the world) to golf (well, they look like golf clubs to me) all the within boundary lines that could well be the rules that govern any form of sport or contest. Look deep and imagine and you’ll probably be able to see your favorite sport.

Don’t think that Hughes body of work is composed entirely of computer-generated imagery. Far from it. His approach to photography is wide ranging and at the 1997 Wedding and Portrait Photographers International convention in Las Vegas Hughes proved himself a true multi-dimensional artist with a series of stunning wedding images created in a style that certainly impressed his peers. One observer, John VanSteenberg, was so awed by Hughes’ work that he wrote the following: “Blending natural and computer-enhanced photography with innate curiosity, beautiful insights and romance, Robert took his images out of space and time into a new era.”

Obviously, the experts who judge such things, were equally taken and awarded Hughes an average of 95.5 points on six different images, at that time the highest scoring portfolio in WPPI’s history—and with it a WPPI Grand Award. He followed up with similar high scoring entries in the 1998 and 1999 WPPI conventions and capped off the run in 2000 by being given three perfect 100 scores on separate prints, again winning a Grand Award. Professional Photographers of America, PPA, have bestowed on him all their master’s degrees, including in 1999, the Master of Electronics.

Obviously, his awards—at the national and regional levels—and other industry tributes are numerous, highlighting the esteem in which his imagery is held, by peers and clients alike. Additionally, his reputation has spread beyond the U.S., and he is the first American to be offered membership (by invitation only) in the European group of creative photographers, P.A.C.E.—Photographers at the Creative Edge.

These awards and professional accolades testify to the success of Hughes’ photojournalistic approach to wedding photography and the way in which he has married digital with traditional wedding photographs. Behind that success is dedication and self discipline and the ability to visualize beyond the ordinary and the usual, to create the unusual.
One of his peers, and one of the most respected photographers of his genre in the country, Monte Zucker, has called Robert Hughes a genius. Hughes is more modest, referring to himself as an “introspective photographic commentator” and has written several essays on this and “introspective photojournalism.” In one of these essays he asks, “ Is photojournalism, wedding or otherwise, something we can define? Is it more than just taking many pictures, hoping to obtain one great picture? How are great photojournalism pictures seen and placed on film? What is the mystique? “

“First of all, photojournalism is a particular type of approach or mindset. It reflects a personal method in which to express visually. Photographers who choose to work in this manner adopt a policy not to interfere with the action. They believe that they should be so unobtrusive, so much so, that at the moment of the actual picture they become invisible. They believe that they should not interrupt,” he said. Hughes adds that he likes to think of his approach to photojournalism as a type of reportage that is somewhat biased with his own personal introspective commentary, pointing out that total objectivity is very hard to achieve.

“The difference in my approach is that I state from the beginning that I intend to produce work that is journalistic in nature, but introspectively interpreted through my own personal experience, creativity, and talents. In short, I feel that I am an introspective photographic commentator, “ he said.

Through his blending of various technologies and with infusion of his own talent, Robert Hughes has carved his own niche. What advice would he give aspiring photographers who want to enter the profession, or what advice would he give photographers who might find themselves jaded by making the same images over and over and seek to get out of a professional rut?

In response he offers “Robert Hughes Instructions” for having a life: “My father was the first to tell me ‘find a job you like and you won’t have to work a day the rest of your life.’ So, make imagingmaking your life! Many people tell me that I don’t have a life. This couldn’t be farther from the truth. I have THE life! Making images is my life! How could I be so fortunate?”

And what is Robert Hughes advice on getting “out of the box?”
• Give yourself permission.
• Stop “just looking” so that you can begin to see.
• Self-imposed limitations are the real killer of creativity.
• Make it a point to locate the switch that transcends traditional boundaries.
These are exciting times to be an imagemaker. It’s very obvious, Robert Hughes is making the most of them.

Peter Skinner is communications director for the American Society of Media Photographers (ASMP) and is a writer/photographer living in Anacortes, Washington.