# 7993-96 / landscape • sink • common things ~ a "trick" of sorts

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I HAVE PREVIOUSLY WRITTEN THAT, IF I HAD MY druthers for an exhibition of my photographs, there would be a red velvet rope barrier along the gallery walls that would restrict viewers to a print viewing distance that forces them to view the photographs in their entirety. Why do I harbor this never-to-be-realized fantasy? Let’s ask Henri Cartier-Bresson ….

“If a photograph is to communicate its subject in all its intensity, the relationship of form must be rigorously established. Photography implies the recognition of a rhythm in the world of real things …. We look at and perceive a photograph, as we do a painting, in its entirety and all in one glance. In a photograph, composition is the result of a simultaneous coalition, the organic coordination of elements seen by the eye. One does not add composition as though it were an afterthought superimposed on the basic subject material, since it is impossible to separate content from form. ~ Thanks Henri

My translation: if a photographer establishes a relationship of form derived from his/her “recognition of a rhythm in the world of real things”, aka: “the organic coordination of elements seen by the eye”, aka: commonly referred to as composition, the only way in which a viewer can see the result of the photographer’s capture of the organic coordination of elements, aka: form, is to look at and and perceive a photograph in its entirety and all in one glance”.

iMo, and to my eye and sensibilities, exquisite form is what distinguishes great photographs from “merely” good photographs. And, exquisite form can be recognized and extracted from just about any referent in the world of real things.

For instance, consider Shore’s Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975 photograph; based upon what is literally depicted, the photograph is just a semi-anonymous picture of a commercial district street replete with a lot of signs. Show this picture to 100 different people and that is all that most would see, and, most would be left wondering why anyone would make a picture like that. However …. there would probably be a few people who see something that is beyond / independent of the literally depicted subject matter–the visual pattern, aka: form, that Shore saw / recognized in an isolated segment–as defined by his framing–of elements in the world of real things.

I believe the “trick” to seeing / recognizing the something beyond the literally depicted subject matter in a photograph is to, literally, ignore the literal subject matter in order to be sensitive to the visual rhythm and pattern of the lines, shapes, colors, values, form to be seen across the flat, 2D plane of a photographic print. Or as Szarkowski put it:

“To see simultaneously both the blue and the sky.”

I also believe that if one can learn to see “simultaneously both the blue and the sky.” in a photographic print, one will also be able use that ability to recognize “rhythm in the world of real things” while making a photograph.

# 7988-92 / landscape • common things • kitchen life ~ peepers

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SIGNS OF THE IMPENDING ONSET OF THE AUTUMNAL BACCHANALIA of leaf-peeping frenzy are breaking out all over. It won’t be long before our little piece of heaven on earth will be overrun with camera wielding, pretty picture makers taking the 7 trillionth + cliche fall photograph(s).

That written, what is surging to the front of my picture making skull is my seemingly never-ending–I swear I can’t control it– annoyance and irritation with inane utterances re: the photo medium and its apparatus.

item #1: Micheal Johnston’s never-ending dissing of the smartphone as a picture making device. Today’s example:

“I actually kind of wish Smartphone cameras had never become "good enough." The good enough is the enemy of excellent.”

re: “good enough”, aka: Adequate - something acceptable, even if it is not perfect. I call bull shit cuz smartphone photo making capabilities surpassed “good enough” several iterations ago. A fact that any number of photographers toiling in the fine art world–or even snapshot amateurs just screwing around and having fun–realized long ago, my own self included. Most / many gallery directors, photo exhibition jurists, and the general photo viewing public all seem to believe that my photographs are “excellent”, which leads me directly to ….

item #2: re: “the enemy of excellent” - That written, I realize that Johnston, just like most “serious” amateurs, has an understanding that photographic excellence is significantly dependent upon “perfect” technical considerations; max sharpness / resolution, extreme fine detail, max dynamic range, and the like. As a result he/they spend a significant amount of time and energy festering and agonizing over gear. Cuz, ya know, ya can’t take excellent pictures without excellent gear, gear that has “excellent” technical specs, which leads directly to ….

item #3: a response to Johnston’s post from which the above quote was extracted:

“I can't go with the 4/3 sensor size. Not enough dynamic range and not enough detail.”

First, let me write that the idea of “not enough dynamic range / detail” is not a comment one is apt to hear at photo exhibition in a fine art gallery / art institution. Ordinarily, one must go to a camera club gathering in order to hear such inane utterances–as well as the ever popular and insightful query, “What camera do you use?”

That written, let me go out on a limb here and write that extreme dynamic range and lots of detail are, in so many cases, the enemy of excellent. iMo, and to my eye and sensitivities (and I am not alone in this regard), there is nothing more excellent-destroying in a photograph than ultra vibrancy and maximum granular detail–visual characteristics that do not simulate normal human vision. Most photographs that exhibit such characteristics appear to me to be caricatures of the real world–pictures of some thing that exaggerate or distort its prominent physical features or character traits. Proving over and over again that nothing exceeds like excess.

OK. So there you have it. I got that outa my system (for now). But, FYI, just for kicks, I included an Olympus µ4/3 made photograph in this entry. Bet ya can’t tell which one cuz, ya know, both picture making devices are quite “adequate”.

# 7076 / landscape ~ breakng news

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I was informed today that my Blue Mountain Lake triptych was accepted into the Arts Center Lake Placid’s annual Fall Juried Art Exhibition.

I feel kinda sheepishly guilty inasmuch as the triptych is a pretty picture of a pretty referent. Sorta like I am betraying my regular referent M.O., aka: the everyday / commonplace world. Although, truth be told, the view depicted in the triptych is an everyday occurrence here in the Adirondacks. So, that written, I’ll just go with the excuse that it is impossible to go through a day without at least one juicy rationalization.

Call it a rationalization but here’s the thing; submitting a “fine art” photograph–described here as a Shore/Meyerowitz/Eggleston style picture–to a juried show in a gallery here in the Adirondacks is somewhat of a fool’s errand. That’s cuz 99.9% of the photographs made by “serious” Adirondack amateurs–an even non-hyphenated serious amateurs–are of the ain’t-nature-grand school of photography. It’s just the nature (pun) of the beast.

That written, my triptych verges on the edge of the pretty-picture zone; even now, before the exhibition opening event, I can hear comments like; why did you cut off the guy in the boat on the left? / you should have moved the pedestrian boat at the dock or at least retouched it out of the picture so that only the vintage Chris Craft boat is featured / and, you should have dialed up the color saturation. Ugh.

In any event, next week I launch my an ADIRONDACK GUIDE project portfolio presentation blitz on the Adirondack gallery world. I do believe that it will elicit a couple of exhibition offers / interest precisely cuz it is not just another ain’t-nature-grand body of work–“body of work” being the operative phrase inasmuch as, while I would never submit a stand-alone picture from this work for juried exhibition consideration, I do believe the cumulative body of work is a refreshing unique, original view of everyday life in the Adirondacks.

And, PS–the book is going to press next week.

FYI, the triptych photographs were made with a Canon EOS IX–an APS film format camera–using 110 color negative film. The print is 14x36” with a 10.5x33.5” image.

# 7066-70 / around the house • landscape • common things ~ all grown up

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LATELY I’VE BEEN PULLING OUT PHOTO BOOKS–SPECIFICALLY INDIVIDUAL PHOTOGRAPHER monographs–from my photo books collection. The primary reason for doing so is to get a comparative feel for my book, re: does it have the look and feel–design and content–of other-like photo books? Does it have a book store presence?

I believe that it does. That feeling is backed up by the response of a large regional book store manager who, when viewing my proof book, asked not only how soon could he get it on the shelves but also would I do an in-store book signing event. He even suggested that I should raise my suggested price for the book cuz, in his opinion, it is a very “high quality product”.

Be all of that as it may, my perusing of some photo books from my collection instigated some thoughts on the current state of photography arts; most of the books in my collection were published in the first decade of this century. Many were retrospectives of work created well before that time–1970>late1980s. In fact, many of my most recent purchases of photo books showcase work created in that early era ….

… all of which leads me to wonder if my interest in “fine art” photography is locked into work from the past. Have I reached a stage in life where I have lost touch with “what’s happenin’ now”, photography wise. Or, is it that there ain’t all that much happenin’ that’s opening up new frontiers in the picture making world?

In defense of my idea that I ain’t dead yet, photography wise, there can be no denying that 70s>80s was a time of ground breaking photography revolution; the New Color Photography and the New Topographics movements were the prime instigators of a radically new picture making paradigm–goodbye Ansel Adams, hello Robert Adams / Stephen Shore and company. And, not only did the picture making world change–any-thing / every-thing became legitimate subject matter–but so did what could be hung on gallery walls–goodbye camera club walls, hello MOMA.

That written, am I in the wrong to write that there ain’t much goin’ on that generates a lot of excitement in the photo world? I mean, where/what’s the next big thing, where/who’s the next big name?

I am willing to admit that perhaps I am asking too much of the photo world cuz it is quite arguable that the medium has matured to a point where a truly radical transformation is not possible. Perhaps I should just relax and appreciate the fact that I experienced and came of age, picture making wise, during an exciting period of artistic evolution.

After all, that transformation made possible a recent experience where, when a complete stranger (a 60ish aged woman)–sitting at a bar eating lunch–was handed my an Adirondack Guide photo book by the bartender, she spent a considerable length of time–20-25 minutes–viewing it. After which she turned to me and said, “A great book with really beautiful photographs.”

That encounter was rather amazing inasmuch as her reaction to a book full of straight, somewhat deadpan, pictures of the mundane, commonplace life–places, things, people–in the Adirondacks might not have been possible a couple decades ago. It might have be viewed as amateur, snapshot junk. Apparently, times have changed.

# 7050-61 / stone harbor • landscape • still life • common places-things ~ picture making wise, don't fence me in

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BACK AND DECOMPRESSED FROM THE JERSEY SHORE where I accepted my self-imposed challenge of picturing the shore wetlands without succumbing to the “pretty picture” affliction. Point of fact, it wasn’t that much of a challenge once I assumed my New Topographics picture making persona.

I came away with 10-12 strong wetlands photographs–a mini body of work–but it was not the only body I created; in that regard, I offer for your consideration my Shore Still Life / Wastebasket work. Although, this work is actually a subset to my yet-to-be-organized wastebasket work–a body of work that has 25-30 photographs.

Next up, Jersey Shore photography wise, are a couple recent trip photographs that have the potential for development into bodies of work; life on the deck and despoiling Stone Harbor • the evolution of the Shore cottage. That written, neither concept undertaking is likely to happen for several reasons not the least of which is that this year may have been my last trip to the Shore–but I say that every year so who knows.

Re: life on the deck - the making of the photographs is a somewhat spontaneous activity. In the house in which we stay, my vantage point is at the kitchen table where I sit for my wake-up routine and where I work on my laptop throughout the day. So, I am somewhat “invisible” inasmuch as no one pays me much attention so life on the deck goes on without any real awareness of my picture making. At the other location I would stick out like a sore thumb inasmuch as everyone would know that my only reason for being there is to make pictures–in particular, at a very specific, narrowly defined location. That’s a spontaneity killer if ever there was one.

Re: despoiling Stone Harbor • the evolution of the Shore cottage - one of my primary dislikes about the Jersey Shore, Stone Harbor in particular, is that what was once a quirky, middle class, beach community with its own unique character (now gone with the wind) has been slowly overrun by the vulgarian, monied class. Ostentatious McMansions–most are 15-20,000 sq.ft. vacation homes–are everywhere and most are virtually hermetically sealed–that is to write, isolated from daily life on the street; although most have postage stamp sized front porches, over the past 20 years I have never, not once, seen a single person on those porches. All of that written, I can not envision any incentive for undertaking a project that illustrates this concept.

ASIDE FYI, needless to write, real estate values have moved into the stratosphere. The quaint bungalow cottage pictured above, were it to come up for sale, would be in the 1.5>2 million dollar range. END ASIDE

Re: Jersey Shore Wetlands - I really like the work. If there were a single reason to return to the Shore next year, spending the week pursuing this referent is it.

All of the above written, I accumulated 25 “keepers” during my Jersey Shore stay. They are good enough and varied enough to warranted a POD photo book. A book I am tempted to title as Jersey Shore Surfaces. And, in addition to a reasonably successful picture making trip, my other main accomplishment last week was the fact that I did not once set foot on the beach.

# 6972 / landscape • common places • adirondack survey ~ keeping the ball rolling

THE PHOTOGRAPH IN THIS ENTRY, STRICTLY WRITING, qualifies as a part of commonplace life in the Adirondacks––I live in a truly amazing place––inasmuch as it is a view from the 1st tee of my home golf course that I frequent on a regular basis. FYI, the golf club has 45 holes––2 18s and 1 9 hole course––this being the Mountain Course, aka: the Upper Course.

In any event, this photograph will not be in the Adirondack Survey book cuz in ain’t square although it could be included in an exhibition. However, I do have a square image for the book made from essentially the center portion of the panoramic image to include the Olympic Ski Jump towers and the aiming post in the center of the fairway.

Re: the Adirondack Survey project: In my pursuit of getting a solo exhibition of the work, my first effort, the distribution of a zine featuring 100 photos from the collection, is at the printer (Blurb). I am awaiting that single “proof” copy for my approval before ordering 20 more copies for distribution to gallery and art institution curators / directors.

This link will take you, in a separate window, to a PDF of the zine. Viewing hint; 1) set the view to 75% to see a nearly life-size view, 2) in the viewing window, scroll to the copyright + statement 2 pg spread––scrolling from that point on, keeping 2 pages in the window should allow you to view the 2 pg spreads as they appear in the zine.

FYI, the 32 page zines will cost approximately $8.50USD per copy. I consider that to be a very minor cost for exposing / presenting the work to potential “clients” (for lack of a better nomenclature)––a lot of bang-the-buck, so to write. It is a very nice physical object that mostly likely will be appreciated and is easy to pass around to others for consideration and feedback.

# 6946-52 / travel • landscape ~ picture window perfect

FOR REASONS I CAN NOT FULLY EXPLAIN MOST OF my Ireland landscape photographs were made through windows of one sort or another. The pictures do, sorta, fit into my picture windows body of work but not exactly so inasmuch as the framing of these photographs is rather different than that of most of my earlier picture windows work.

The primary difference, as I see it, is that in these pictures the window frames function, conceptually, as a frame-within-a-frame. Ya know, for those who like to see such things in a photograph, subtly emphasizing that the act of making photographs is, in effect, an act of framing select slices of the real world. On the other hand, there are those who might wonder why I did not just go outside and photograph the view without all of that “distracting crap” in the way.

Truth be told, I did not have a single thought in my picture making head, re: the concept of frame-within-a-frame, while I was making the photographs. I just liked the way all the visual elements within my imposed framing came together. iMo, and to my eye and sensibilities, it all made for a more complex / ambiguous visual presentation than that which would result, picture making vise, by just going outside and pointing a picture making device at the landscape and visually declaring it to be “beautiful”–aka: making simple pictures for simple minds.

# 6942-45 / travel • landscape ~ pictures

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me

TO DATE THIS TRIP HAS BEEN SOMEWHAT OF A picture making bust. Very different from our previous visit to Ireland inasmuch as, for me and my grandson, this trip has been centered around golfing and a very rural part of County Donegal. So mush so that tomorrow’s golf outing will place use within sight of the most northern edge of Ireland. That written, even the view from our B&B on Lough Swilley affords us a glimpses of the very northern tip of Ireland.

Today is a down day, golf wise, and we are headed out for a drive to a small village for a walk about and a pint or two. Should give me a chance to make some pictures of village life.