# 6345-46 / common places • common things ~ juxtaposition and disjunction

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I HAVE ADDED A NEW GALLERY TO MY WORK page titled discursive promiscuity. The pictures are presented as book pages- that is, as they would appear in a book (or framed on a gallery wall). FYI, in a book, each picture would be on 1 page of a 2 page spread.

While my photographs do not strictly conform to a specific genre-other than my own personal genre, aka: discursive promiscuity-in the cause of presenting them in a book, I do wish to borrow from one of the tenets of the snapshot genre:

Subject matter is often presented without apparent link from image-to-image and relying instead on juxtaposition and disjunction between individual photographs.

… the work, aka: The Philosophy of Modern Pictures, goes on.

# 6329-33 / common places • common things • landscape ~ form-it-able

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There are no rules for good photographs, there are only good photographs….The so-called rules of photographic composition are, in my opinion, invalid, irrelevant, immaterial.” ~ Ansel Adams

Consulting the rules of composition before taking a photograph, is like consulting the laws of gravity before going for a walk.” ~ Edward Weston

IN MY LAST ENTRY, re: ideas on making an interesting photograph, I mentioned the idea that it is form, rather than the depicted referent, that is the most important element in creating interesting an photograph. And, I described form as the visual expression of “how the picture maker has “arranged”-by means of his/her framing and POV-line, shape, space, tone (value), and color across the 2D visual field of a print.

That written, it is quite possible that I should not be using the word “form” to describe the visual characteristic that I strive to illustrate in my photographs and appreciate in the photographs made by others. Technically, according to Tate Modern, my usage is correct:

In relation to art the term form has two meanings: it can refer to the overall form taken by the work – its physical nature; or within a work of art it can refer to the element of shape among the various elements that make up a work.

As you might surmise, I hang my picture making hat, re: form, on the idea of the element of shape among the various elements (to include line, space, tone, and color) that make up a work of art. However-and here’s the rub, re: maybe I should not use the word “form”-cuz if you were to search the interweb for “form in photography” you would discover that the genii in the photo commentariat world have decided that form

“…refers to the three-dimensional appearance of shapes and objects in a photo…[and] is all about subjects that stand out as if they're 3D objects.”

and, get this awesome insight..

“Successfully conveying all three dimensions in a two dimensional medium is a great artistic accomplishment

ASIDE from the song Assholes on parade: Assholes to the left…And assholes to the right … I once heard it said…That old assholes never die…They just lay in bed…And multiply END ASIDE

another ASIDE I realize the preceding aside is rather harsh but…the interweb is chock full of bad photo making advice, especially so from “experts” and workshop leaders and it gets me to setting my teeth on edge. END ASIDE

I’m sorry, but, the use of leading lines and value (tone - you know shadow and light) to create the faux appearance of 3D shape and/or depth in a 2D art form, aka: photography, is a very fer piece down the pike from a “great artistic accomplishment”. And, it has little to do, if anything, with the idea of form as seen and perceived in the Art World.

So, in my use of the word form to describe an important visual tool in my photo bag of tricks, I worry that the mis/mal-informed out there might get the wrong impression.

All of the above written, stay tuned for my next entry wherein I describe in greater detail much more exactly what I believe to be the good form that I strive to illustrate in my photographs.

PS the pictures in this entry all present, if one chooses to look at them in that way, a sense of depth. That, however, is not how I view them nor is why I made them.

6313-17 / people ~ some people I know about whom you may care less

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THE PICTURE MAKING IDEA OF PORTRAITS HAS been on my mind cuz there is a gallery group exhibition requesting submissions for consideration. Consequently, I have been rooting around in my photo iibrary for pictures which would be construed as portraits. That is, considered to be so per the submission guide lines:

A great portrait reveals something of the depth, history, and emotional state of the subject, at least as captured in a single moment in time. Although many portraits zero in on the face, many fine images don't show the face at all, instead using light, gesture, context, and other nuances of expression to create an informative portrait.

For this exhibit we seek portraits, self- or otherwise, that go beyond the surface to explore a deeper vision of the subject and, hopefully, draw an emotional response from the viewer.

To be certain, I have a number of issues with the idea that a portrait can reveal “something of the depth, history, and emotional state of the subject”, or that a portrait can “go beyond the surface to explore a deeper vision of the subject”. That’s cuz I am a firm believer in the idea the medium of photography has a problem with imbuing a photograph with definitive meaning, i.e. Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy~ Susan Sontag.

That written, a photograph which illustrates a reasonably accurate likeness of a person, when viewed by someone who possesses experiential knowledge and interaction with the depicted subject, may prick memories of and associations with that subject-Barthes’ punctum. But, iMo and experience, a viewer with no immediate connection to the depicted subject, not so much.

Re: the emotional state of the subject / an emotional response from the viewer. Without a doubt, photograph, in many examples, can convey a general sense of the emotional state of the subject. However, without some supporting evidence, visual or otherwise, that general sense will have little or no “depth”, the why? factor. And, also without a doubt, a photograph which conveys a sense of the subject’s emotional state may incite a simpatico response in the viewer thereof.

All of the above written, in my commercial picture making life, I was considered to be a top-tier people picture maker. My people pictures were on countless magazine covers and in magazine feature articles, in annual reports, and accent-on-people-like my Ray-Ban on models work-advertising / marketing campaigns.

I studiously avoided traditional studio portrait work other than for family and a few friends. The “portrait” pictures I enjoyed the making of the most were-and still is-my spontaneous, casual pictures of family, friends, and acquaintances. Usually made with no specific intent other than just fooling around in all kinds of situations while using all kinds of cameras and techniques.

In any event, I have yet to decide if I will be submitting work for the aforementioned exhibition. My time might be better spent putting together a nicely printed folio of my personal portrait work for submission to galleries in pursuit of a solo exhibition.

# 6185-90 / the new snapshot • commonplaces ~ my precious stand-in

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“…it rarely occurs to such a photographer to take a picture of something, say a Venetian fountain, without a loved one standing directly in front of it and smiling into the lens.” ~ Jean Shepherd

OVER THE YEARS, THE WIFE HAS PLAYED, DURING OUR TRAVELS, HER ROLE in my pictures, ala Jean Shepherd’s “loved one standing directly in front of it and smiling into the lens.”, with the patience of a saint. And, this weekend past was no different.

Our travel this weekend past, a 260 mile (total) out-and-back run to the central Adirondacks in order to purchase a dozen of the planet’s best cinnamon sugar donuts, started with our first ever gas up at our hamlet’s rebuilt-from-scratch convenience store / gas station. After securing the donuts, we stopped for an early afternoon breakfast in the hamlet of Blue Mountain Lake where we dined in a recently restored 1946 era diner that was moved-after its restoration-from Maryland to the Adirondacks.

I have been making travel pictures with the wife as a stand-in for quite some time. I began making them as a somewhat casual, satirical take on the classic tourist picture as described by Jean Shepherd. I continue to do so with the same intent but, as my collection of these pictures grow, I am now approaching the making of such pictures as a “serious” endeavor with the idea of creating a “serious”, albeit somewhat tongue-in-cheeky, body of work.

My only regret about this undertaking is that it was not until quite recently that I started to this picture making seriously. Consequently, I am kicking myself in the butt-not easy to do at my age-for all of the stand-in picture making opportunities I have passed up over the years.

# 6178-84 / kitchen sink ~ let function and meaning float free

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Bernd and Hilla Becher were sometimes more interested in aesthetic form than in what industry actually does…its goal was art, which means it was always bound to let function and meaning float free.”~ from the NY Times article

THERE IS AN ARTICLE IN TODAY’S NY TIMES, re: an exhibit, Bernd & Hilla Becher, at the Metropolitan Museum of Art in NYC. The article is a good read, especially so as it does not jam the reader up with a load of art-speak.

That written, what really grabbed my attention was the manner in which the photographs were presented (in the article). That is, primarily grouped by subject matter-blast furnaces, water towers, and frame houses. This pricked my eye and sensibilities inasmuch as, up until this point, I have been rather lukewarm in my assessment of the Becher’s work. A situation which I now attribute to the fact that I have never viewed their work presented as coherent bodies of work. Seeing the Becher’s work presented as bodies of work has changed my assessment of their work. So much so that I will be, in the near future, boarding a train to NYC to see the exhibit.

The fact that seeing a coherent body of the Becher’s work so opened my eyes to their work comes as no surprise in that I have always understood that a good body of work can be a collective staggering visual force which illustrates and elucidates an artist’s vision. Such is the case with the Becher’s work. I can now attest that I have much greater understanding about what the Becher’s were up to with their picture making.

Re: the quote from the article - “Bernd and Hilla Becher were sometimes more interested in aesthetic form than in what industry actually does…” In regarding my kitchen sink pictures, I hope it is obvious that I am more interested in the aesthetic form to be found in the “life” that goes on in the sink than I am in the actual depicted referents to be seen in the photographs.

# 6132-35 / in situ (street photography) ~ an instant of life captured for eternity

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“‘A photograph can be an instant of life captured for eternity that will never cease looking back at you.” ~ Brigitte Bardot

AS MENTIONED IN MY ENTRY, STREET PHOTOGRAPHY ~ a first world problem, my intention was to make a photo book-the same pictures in color and monochrome in separate groupings-to investigate the differing viewing and appreciation experience (if any) between color and monochrome versions of the same pictures.

Initially, my thought was to limit the number of pictures to 10. That was, in part, cuz, not being a street photographer, I thought that coming up with 10 good street pictures might be a stretch. As it turns out, much to my surprise, I came up 30 very good-(iMo) picture possibilities, So, my now second first-world problem is editing down the choices to 10 just pictures.

After several go-arounds I narrowed it down to 15 strong pictures. So I thought, 15 it is until…I started designing the book-each spread with a picture on one page, location caption on the facing page-at which point I realized I was creating a 66(ish) page book. While the number of pages, per se, is not an issue, the cost of such a photo book with the design and production values I want-premium paper, lay-flat pages, 6C printing-would be in the $100USD + range. Once again, the cost is not an issue for me….except….

…what I hoped to create was a book in the $30USD range in order that some of you, the blog followers, might be interested in acquiring the book. Not because I am a brilliant picture maker but, rather, to partake in the investigation, re: color v monochrome of the same pictures, of whether there is a difference in the viewing and appreciation experience.

If there is an interest, I will edit the pictures down 8 or so and make a soft-cover book with 4C instead of 6C printing. The book would be available direct from the POD printer, Blurb. If anyone is interested just hit the LIKE button. FYI, I am not looking for big numbers. 5-6 would be enough for me to make the effort. And, BTW, I would be selling the book at cost.

# 6114-17 / street photography ~ a first-world problem

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(l>r / t>b) Pittsburgh, PA / Florence, Italy / Paris, France / BInghamton, NY~ (embiggenable)

OVER THE YEARS I HAVE NEVER BROUGHT MY picture making attention to the street photography genre. However, on those occasions when I am in an urban environment, my eye and sensibilities are sometimes pricked by what seems to me to be a street photography moment. Consequently, I have made a few pictures which would be labeled as street photography pictures.

Of course, since all of my image files are created as RGB files-cuz I see the world in color that is how I picture it-when it comes to processing the street pictures, I get a bit befuddled, re: should these pictures be printed as BW or should they be printed as Color?

The hide-bound photo traditionalist in me says that all street photography picture should be-or is it “must” be?-BW pictures. On the other hand, the thoroughly modern picture maker in my head says, “Not so , grandpa.” So I guess what I will have to do-or so the voice in my head is telling me-is pick 10 or so of my better so-called street pictures, process them to BW (aka: monochrome), and print both versions in a single book and let the viewers decide.

That written, the BW and Color pictures would not be printed side-by-side. Rather, the Color work would be presented as a single grouping as would the BW work. That is cuz, one thing I truly believe is that each grouping would most definitely create a decidedly different viewing and perception experiences.

Or not. Maybe it just might be six of one, half a dozen of the other.

# 6106-08 / roadside attractions • the new snapshot ~ a question

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There is nothing as mysterious as a fact clearly described. I like to think of photographing as a two way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is.” ~ Garry Winogrand

IN A NUTSHELL, WINOGRAND’S QUOTE IS A PRETTY EXCELLENT, SIMPLY-STATED description of straight photography.

I have always subscribed to making straight pictures and consider myself, re; my landscape photography, to be a New Topographic photographer, a moniker which emerged from the exhibition (the 2nd most—cited photography exhibition in history), New Topographics: Photographs of a Man-Altered Landscape-at the George Eastman House in 1975. That exhibition introduced landscape pictures-primarily of the American West-that were stripped of any artistic frills and reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion. Pictures that exhibited a cool detachmrnt / unsentimental manner of picture making.

To this day, the influence of that exhibition and the picture making M.O. that it spawned still commands a formitable following in the straight photography world. And, it is rather ironic that the pictures in the exhibition, which critics / academics described as having “an alleged absence of style”, became the forerunners of an actual style that has been called “…Arguably the last traditionally photographic style”.

FYI, 10 photographer’s prints-10 prints from each-were presented in the exhibit. The photographers were: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel. With the exception of Stephen Shore, all the photographers worked in BW.

In any event, I mentioned all of the above cuz I have given some thought to the question, has straight photography, in particular the New Topographics genre, reached a dead end? Or, perhaps, is it just aimlessly driving around in circles in a cul-de-sac? Which is not to write that there is not some very good work being created. However, it does seem that it has fallen out of favor in the Fine Art gallery world.

Perhaps a related question-how long is it possible maintain a cool unsentimental detachment?-is also appropriate.

Any thoughts?