# 6947 / photo-based illustration ~ narcissistic navel gazing

cover illustration ~ Executive Report magazine (embiggenable)

illustration for article about the University of Pittsburgh School of Dental Medicine ~ (embiggenable)

”....it's been quite some time since I read an artist speak so eloquently and clearly about the world beyond his/(her) own asshole.” ~ Bill Jay

Re: speaking beyond of his(her) own asshole:

In my project “Far From” I want to make visible what landscape photography can look like for a female photographer with child rearing responsibilities. I combine landscape photographs of the American West with embroidery to challenge the masculinity of traditional landscape photography and the myth of the West. Landscape photography was traditionally dominated by male photographers as it was deemed unsafe and impractical for women who were constrained to the domestic sphere, close to their housekeeping and child rearing duties …. I am drawing on the history of embroidery as both a symbol of female submission and a weapon of resistance for women, and overlaying that to the masculinity of landscape photography and the American West.

AS I HAVE WRITTEN MANY TIMES, I HAVE LITTLE, if any regard for the photographs made by adherents to the Academic Lunatic Fringe crowd, i.e., those whose picture making is driven by obsessive narcissistic navel gazing, and the like. The navel gazing is most often about attempting to make a photograph that expresses some deep personal angst, emotional distress, obsession with a social cause and the like.

If that’s your picture making thing, have at it. However, iMo, the resultant photographs fail on 2 counts; a) they are not very interesting / pleasing to look at, and, b) they require a zillion word artspeak essay that attempts to explain what it is that the viewer is looking at.

The narcissistic navel gazing artist statement example in this entry is a case in point. Right from the get-go it states that the photographer had a desire to make visible what landscape photography can look like for a female photographer with child rearing responsibilities. Say what? I mean, does a female photographer with child rearing responsibilities make photographs that differ from those made by a female photographer with business responsibilities. How about a female photographer with commercial aviation responsibilities, or…. etc. etc. etc.?

And I won’t even get started, re: the masculinity of traditional landscape photography or the wacky idea of embroidery as both a symbol of female submission and a weapon of resistance for women. But, then again, say what? Can anyone find me a woman who was deterred from making landscape photos cuz the genre was dominated by male photographers and subsequently decided to take up embroidery as a weapon against…what?…misogyny? Somehow I have a problem with envisioning a group of angry female wanna-be landscape photographers, now “constrained” to embroidery, confronting a group of male landscape photographers while holding up their work efforts and screaming, “Take that you bastards!”

I could go on but I won’t. Let me just write that this example of artspeak-driven, narcissistic navel gazing, ALF folderol is spot-on typical of the ALF genre. iMo, their #1 problem is that they are attempting to photograph something–an idea–that can not be photographed. However…

…. do not misunderstand my rant. I am not suggesting that a visual element in a photograph, or an the entirety of a photograph can not have a symbolic meaning, I offer as evidence my photo-based illustrations in this entry. The assignment for a magazine cover was to create a picture for an issue about the revitalization of the Pittsburgh “rustbelt”–a term referring to a region in the United States that experienced a major decline in manufacturing and industrial activity in the late 20th century, resulting in economic hardship, job losses and where industries like steel, coal, and automotive production were once dominant.

I don’t think that it requires a PHD in art / photography studies to figure out that, under the cover heading of “Revitalizing the Rustbelt”, the rusted iron objects were symbolic devices, that the wilted flowers represent the demise of the steel industry, that the drawn lines and angles suggest something other than heavy industrial occupations, and that it was not an ad for new home accessories outlet.

The non-literal dental image assignment was made in an effort to suggest / imply the idea of “dental” in a more visually captivating manner than a “straight” photograph would be.

FYI, the Rustbelt photo-based image is a Polaroid Image Transfer on fine art non-photographic paper. Some hand coloring was added–primarily on the flowers–along with the ink-drawn lines and arrows.

The Dental photo-based illustration is an SX70 film, manipulated emulsion image.

# 6409-6417 / polaroid ~ barrel o' monkeys fun

all photos ~ (embiggenable)

MUCH HAS BEEN WRITTEN, RE: THE JOY OF PHOTOGRAPHY but little has been written about flat-out, just screwing around fun with photography. And, iMo, when it comes to just pure fun with photography-different from the pleasure to be had in “standard” picture making-nothing, in my experience, comes close to the making pictures with Polaroid cameras or films. I can’t even guess, with any accuracy, the number of Polaroid camera/film pictures I have made. Multiple thousands for sure to include SX70 and Spectra camera-made prints, 4x5/8x10/ sheet film prints, 669 print film (3 1/4x4 1/4 pack film) prints.

A significant part of the fun of making Polaroid photographs comes from just screwing around making straight/ un-manipulated pictures with family and friends and sharing the instant gratification that derives from sharing the results - most often smiles all around, all the way up to fits of hilarity.

As much fun as that is, the inevitable next step up the fun ladder is when you realize you can push around the emulsion of an SX70 print-does not work with any other Polaroid material-before it hardens. This is rather addictive and those so addicted can find themselves carrying around a little kit of pointy tipped things (of varying thicknesses for different width strokes). Embracing and perfecting (a matter of taste) this technique kinda makes one feel as though they are an artist (of some sort).

Then, once ya got the art bug, the serious amongst us move up to the Polaroid image transfer process. This requires the use of a 4x5 view camera and a Polaroid 4x5 film back in order to shoot and process 4x5 Polaroid print film. The process is as follows:

  • have a tray of water, a roller instrument and a squeegee, and sheet of heavy fine art paper ready

  • make an in-camera exposure onto Polaroid print film

  • put the paper in the water, soak thoroughly, squeegee dry but still damp

  • pull the film pack of of the back to start the film processing

  • before the processing is complete, peel the film pack apart, place and then roll the film onto the fine art paper

  • wait 10 minutes and then peel the film off of the paper

  • Voila, the dyes from the film will be transferred to the paper

The fun part of this process is that you now have an image on fine art paper and have the ability to add hand-coloring or any other embellishments to the print. Artist, indeed.

All of that written, my fun with Polaroid continued over into my professional work inasmuch as I made many manipulated SX70 prints and Polaroid transfer prints for quite a number of advertising clients and editorial assignments.

Unfortunately, as they say, all good things must come to an end. And, yes, there is a sad ending to this barrel o’ monkeys’ fun. To my knowledge, none of this is possible today. RIP Polaroid.

Photo captions (top-bottom, l-r): 1) my ex, 2) good friend and then par amour, 3) son 1, 4) son 2, 5) Pittsburgh magazine special issue ~ 24 hours / a day in the life, 6) national teen magazine article ~ teen life in a small West Virginia town, 7) regional magazine article - boxing gyms, 8) regional magazine cover ~ rebuilding the rust belt article, 9) University of Pittsburgh magazine ~ School of Dentistry article

PS I have created a new Fun with Polaroid gallery on my WORK page.

# 6616-20 / common places • common people ~ on the street, or not

from my single women body of work ~ (embiggenable)

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BEFORE ADDRESSING TIPS FOR PHOTOGRAPHING IN PUBLIC, I thought I would address the idea of what is street photography. It seems that the answer is open to question for some-the purists would say that it is pictures of people made while standing on an actual street using BW film in a camera with a wide-angle lens attached. Anything else is, well, quite simply, not street photography.

That definition is a little too tight-ass for me. Consider this from a more modern source:

“Street photography at its essence means candid photography of humanity. A street photograph is a real moment….Street photography can be done anywhere and people do not have to be present in the photo….It is a way of connecting with the world and bringing back the moments that stand out. ...It can be likened to a visual form of poetry – while beauty and form are important aspects of street photography, great street photographs often have something going on beneath the surface….There are hints, feelings, ideas, stories, or questions…”

That definition more closely aligns with my idea, re: street photography. However, I would suggest 2 other points; 1) color of BW, your choice-whatever works for your intent, 2) if people are not present in the picture, it should illustrate evidence of places / things that suggest a past or future human presence.

Re: tips for photographing in public. The first thing you should know is that I do not consider myself to be a street photographer. Rather, I am just a guy wandering around various streets around the world with a picture making device of some kind and my eye and sensibilities perpetually attuned to picture making possibilities. That written, I have managed to make quite a number of pictures that many would label as street photography. Be that as it may be, the fact remains that I have never consciously developed a street photography strategy.

On the other hand, I have relied upon simple common sense procedures. Assuming that one wishes to imitate the proverbial, somewhat inconspicuous fly on the wall, the operative word is “simple”, as in, keep it simple. It ain’t rocket science. Ya know what I mean? Say, like:

Simple # 1: Gear. A single, small, unimposing camera with small, unimposing WA lens. Preferably with standard metal trim cuz most people know that pros use black cameras.

Simple # 2: Clothing. No fashion statements or bright colors. If you can not blend in to the crowd, try not to stand out too much.

Simple # 3: Body language: Do not stand in any one spot too long. Act natural. Be casual. Look around, especially at things you have no intention of picturing. Ya know, cuz you are just a naturally curious sorta person.

Simple # 4: The act of making the picture. Point and shoot. Your picture making device must be set and ready to go. If you have to hesitate to make an adjustment, you risk alerting the subject and the decisive moment will probably be missed.

On an added note, in my experience, I have only one time ever been waved off by a subject while making a street photo. A simple shake of the head and a wave of the hand and that was it. Which leads me to believe that there is nothing to be anxious about when making street pictures. Especially so when one has mastered the art of being a fly on the wall.

An example: I am not small person - a reasonably fit 6’ 3” / 220 lbs with long (8 inches below my shoulder) very wavy light grey hair, most often seen wearing a black baseball cap with a bright KODAK logo on the front which nicely compliments my weirdly stylish eye wear. When out and about, it is SOP for me to hear, “Nice glasses.” or “I love your hair” - almost always uttered by women. All of which makes the following somewhat interesting….

….if you check out my single women gallery on the WORK page, none of those subjects ever knew I was photographing them. That despite the fact that 90% of the photographs were made relatively in close with a street photography “standard”, moderate WA lens. A prime example of discrete fly on the wall, point and shoot, and then disappear into the wind picture making.

polaroid transfer (simulated) # 2 ~ killing time

2 trees ~ Ft. Covington, NY (click to embiggen)

In the making of these simulated Polaroid image transfer pictures, I am first applying a retro lomography film look (of my own making) to the featured image. The polaroid border is a scan of one of my original transfers - one wich needs to be scanned again at a much higher res.

All of this playing around is little more than a can-I-do-it-? time killer while I try to get my head wrapped around a new picture making approach.

Polaroid transfer (simulated) # 1 ~ keeping on keeping on

Homestead Restaurant / simulated Polaroid transfer ~ Alexandria Bay / 1000 Islands, NY (click to embiggen)

There are times like now during which I feel as though (for me) I have made every picture there is to be made. That every picture I make is an act of repeating my picture making self over and over again.

While I continue to make pictures during these periods and eventually work my way out of it, this time seems to be different. I will continue to make pictures, however, at the core of it, I am actively searching for a new picture making means of expression.

That written, I don't believe I will find a new direction by thinking about it. It seems to me that my main sourse of action to is make lots of pictures about which I really don't care very much. In doing so, it is my hope, that I will stumble upon a some prick to my eye and sensibilities which will be the genmination of a new manner of picture making.

To be certain, by "a new manner of picture making" I do not mean a new style or technique. Rather, I mean an attention to a referent which is different from those to which I have been paying attention. Or, quite possibly an existing referent to which I have not been paying enough attention - my In Situ work comes to mind.

In any event, I'll just keep on keeping on and see what happens.