civilized ku # 3590(still life)-92(sports) ~ sorta chained to my desktop

(embiggenable) • iPhone

(embiggenable) • µ4/3 / 100-400mm equivalent lens

(embiggenable) • µ4/3 / 100-400mm equivalent lens

The first photo book, NEW ORLEANS, of my 3 book train trip trilogy is being printed. Working on book 2, Chicago.

Getting this all together has been a time-consuming challenge. My first edit resulted in 238 "keepers" divided into 3 folders - New Orlean, Chicage and Racine. Next step was to process/convert all of them into snapshot quality pictures. Then came the sequencing edit for the New Orleans photo book followed by adding the snapshot border to each picture. Finally, The book was put together and ordered.

Now it's on to the Chicago book followed by the Racine book. And then, finish the prep work for my July solo exhibition at the Adirondack Lakes Center for the Arts.

In between all the train trip work, I have been able to get out and do a bit of sports / action picture making at the behest of my grandson Hugo, the lacrosse goalie. As a high school freshman, he was a 2nd line forward on the varsity hockey team and is currently the starting goalie on the varsity lacrosse team.

civilized ku # 5309 (kitchen life) / diptych # 239 ~ duality

(embiggenable) • iPhone

(embiggenable) • iPhone

I have often descibed my picture making as an act of picturing the quotidian or what others might label as everyday or commonplace things / events / places. In doing so, I am especially fascinated by "life" of things which, either by nature or the hand of humankind (consciously or unthinking), have evinced a fleeting-my idea of a decisive moment-evidence of an artful arrangement.

Some of those things may be considered to be pleasing / beautiful in and of itself while others may incite a reaction of unpleasantness or even disgust. In either case, those things, when pictured in the appropriate manner and presented on the 2D plane of a print, are capable of evincing interesting / visually pleasing arrangements of shapes, lines, tones and colors which are independent of the depicted referents (things).

My intent in making such pictures is to create beautiful prints. That is, a print as an object of beauty no matter the actuality of the thing(s) depicted.

There was a time when I believed I was making pictures of the beauty to be found in commonplace things when, in fact, I have since come to realize that I am making decisive moment pictures which depict fortuitous events (arrangements) in the life of things. To my eye and sensibilities, the resultant printed pictures are transformative inasmuch as the things depicted when viewed for their inherent visual qualities, that is as carriers / conveyors of visual data (line, shape, tone, color), are transformed into / become "mere" visual vehicles-their commonly accepted identity is sublimated-in the service of the creation of a beautiful object.

still life problem / conundrum ~ selecting

sweepings with chipmunk ~ embiggenable • µ4/3

embiggenable • µ4/3

embiggenable • µ4/3

embiggenable • µ4/3

embiggenable • µ4/3 + iPhone

As mentioned in my last entry, it's time to select some pictures, min. 5 / max 7, for submission to the Still Life: Elevating the Mundane juried exhibition. After a brief look at my picture library, only through the latest additions (6 months), I came up with the 24 pictures in the above ganged grouping + 3 decay pictures. I also created a picture, sweepings with chipmunk, specifically for submission to this exhibition = 29 submission possibilities.

Making submission choices is always difficult and somewhat of a guessing game - will my choices appeal to the juror (as opposed to me)? I have my favorites but I am not certain any of them would be a good choice for this exhibition theme. Taking into account the fact that what I considered to be very strong submissions to some exhibition themes that garnered no selections and the fact that one through-in / after-thought submission was selected and given and Honorable Mention, making choices sorta comes down to like throwing stuff at a wall and seeing what sticks.

At this point in the selecting game, the only thing I know for certain is the chipmunk + 1 of the decay pictures are in.

civilized ku # 5177-78 / still life # 2 (redux) ~ the battlefield

the sweeper ~ in the Adirondack PARK (embiggenable) • µ4/3

sweepings ~ in the Adirondack PARK (embiggenable) • µ4/3

sweepings awaiting picturing ~ in the Adirondack PARK (embiggenable) • µ4/3

Garry Winogrand stated:

Anything and all things are photographable. and Every photograph is a battle of form versus content.

Re: yesterday's entry, VANTAGE POINT / LEARNING HOW TO SEE, wherein I wrote about the field of visual energy, aka: form ... I believe that interesting / arresting form is what separates (very) good pictures from (merely) good pictures.

That is to write that interesting / arresting form is the characteristic which allows a print to become an object which, in and of itself, transcends that which it depicts. And, it interesting / arresting form which makes it possible to create very good pictures of any and all things.

civilized ku # 5175 ~ the advantage of a vantage point

in the kitchen / 12:35AM ~ in the Adirondack PARK (embiggenable) • µ4/3

In his book, THE PHOTOGRAPHER'S EYE, John Szarkowski, in discussing the idea of Vantage Point, wrote:

If the photographer could not move his subject, he could move his camera. To see the subject clearly-often to see it at all-he had to abandon a normal vantage point, and shoot his picture from above, or below, or from to close, or to far, or from the backside, inverting the order of things' importance, or with the nominal subject of his picture half hidden.
From his photographs, he learned that the appearance of the world was richer and less simple than his mind would have guessed.
He discovered that his pictures could reveal not only the clarity but the obscurity of things, and that these mysterious and evasive images could also, in their own terms, seem ordered and meaningful.

iMo, these are some of the absolute best words-when one fully understands their import-to make pictures by inasmuch as Szarkowski is not attempting to impart a formulaic methodology for the making of good pictures but rather to express how Vantage Point can influence the creation of visual characteristics and qualities which define a good picture.

It is my intention, over the course of the next few entries, to attempt to emunerate and clarify those visual characteristics and qualities which Szarkowski has chosen to mention in his Vantage Point writing.

still life # 6 (found) ~ sometime in the next few days

flowers, vase, portraits ~ Au Sable Forks, NY - in the Adirondack PARK (click to embiggen)

As I am work away writing text for the photography ~ DISCURSIVE PROMISCUITY book, it has occurred to me that I should publish the writing, an essay at a time, here on the blog. The first essay is nearly finished so you can except to see it sometime in the next few days.