# 6356-61 / street • common places ~ the same but different

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AS I WAS RUMMAGING THROUGH MY LIBRARY SEEKING pictures for The Philosophy of Modern Pictures project/book, I was sidetracked by looking for street photography pictures. While I have never pursued the making of street photos with any degree of concentration, I have discovered that, nevertheless, I have a fair number of what could be labeled as street photography, or, at the very least, could be said to have been made in the street photography style. I found more than enough such pictures that I created a gallery of a selection of those pictures on my WORK page.

That written, my street photography differs from that of “traditional” street photography-tradition = monochrome images-inasmuch as I, as always, make color street pictures cuz, as always, I use color as a structural element in my pictures. However, just for comparison sake, I processed all of my street pictures as monochrome images in order to see how well they “work” in monochrome.

iMo, the monochrome images work OK. If I were to submit them as a portfolio to a gallery for exhibition, I would most likely do a bit more fine tuning of the images. That written, I have no qualms about the picture’s visual interest as a rather decent body of work.

That written, I also have no qualms about believing that the color work of the same images is a much more visually interesting body of work.

Any thoughts?

# 6353-55 / common places • common things ~ better duck, here they come

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CAVEAT: IN THIS ENTRY, NAMES HAVE BEEN CHANGED-or omitted-to protect the guilty..err…ah, I mean the “innocent”.

This entry is a followup to my last 2 entries wherein I mentioned: a. prints-”the very thing one sees on the wall of a gallery or in a photographer’s monograph”-and, b. “the ease of making “good” pictures-i.e. sharp, correctly exposed with decent color balance, referent in focus and the like”.

Re: a. the print: on a recent entry on TOP, The Printing Challenge, wherein Michael Johnston wrote about “the treacherous waters of home printing”, incited 2 diametrically opposed responses….

“'…it's not a photograph until you can hold it in your hand.' I completely fail to understand folks who spend a fortune on cameras and lenses and the show their images only on a screen.”

….and this are-you-kidding-me pile of steaming xxx xxxx…

“We're not in the 1980s anymore. The print is no longer the ‘gold standard’.”

The later comment was put forth by a picture maker whom the former comment poster would “completely fail to understand”. That written, I have a pretty good inclination as to the source of the picture maker’s no-longer-the-gold-standard comment. Having viewed, over the years, a variety of pictures posted by said picture maker-who only shows pictures on a screen-I can write with complete assurance that that picture maker makes very few, if any, print-worthy pictures. Therefore, following the logic, there is no reason for that picture makers to make prints.

Re: the ease of making “good” pictures: due to the fact that only 7% of pictures currently being made are made with a real camera, I can picture, on the hi-def screen in my head, the beads of sweat cascading down the forehead of those “serious” real-camera picture makers as they hear the disturbing pitter-patter of the feet of the smartphone-wielding crowd who are breathing down their necks, good picture making wise.

To wit, so many of the “serious” real-camera picture makers-the aforementioned picture maker included, maybe even head of the class-pin all of their picture making hopes and dreams on the fact that they spend a fortune on expensive cameras, lenses, and related gear in the pursuit of making really good pictures with the belief, aka: delusion, that the resulting pictures will separate their work from that of the maddeningly annoying, camera phone picture making crowd.

iMo, their work is in fact separated from the maddening crowd, but not as a result of the gear with which they make their pictures. No. The most distinguishing characteristic that separates their pictures from those made by maddening crowd-using camera phones or even real cameras-is the fact that most pictures-to be certain, most, but not all pictures-made by the average gear-obsessed picture maker is sorely lacking in unique personal vision. A condition which is not aided, but rather, retarded by the fact that most of the gearheads make their pictures by-the-numbers, aka: the “rules” of so-called “good” photography, aka #2: what they have been told is a good photograph.

So there you have it. Another bit o’ words that will, in one form or another, be part of my modern pictures philosophy.

# 6350-52 / common places • common things ~ I'm a shooter

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I'm a shooter

he's a shooter she's a shooter we're all a shooter
aren’t you happy to be a shooter too?

I AM BEGGINING TO COBBLE TOGETHER A FEW words, re: the introduction essay, for the Philosophy of Modern Pictures project / book. The above words-tip o’ hat to the early Dr. Pepper I’m a Pepper tv commercial jingle-are the leading candidate for the essay title.

The use of the word shooter derives from the aforementioned mentioned-a previous entry-interaction with a young hipster-body jewelry, “cool” hair style + color, et al-bartender in an upscale restaurant bar who asked me if I was a “shooter”. I was confused-was she asking if I wanted a shot of bourbon? was I packing heat? Noting my confusion, she pointed out that she had noticed my cap with the KODAK logo. Thus informed of that, it gave me license to answer that, “Yes. I’m a shooter.”

Apparently the younger generation thinks it cool to be a shooter. That being the case, for purposes of the book, it’s good enough for me.

Re: we’re all a shooter - OK. I get it. Not everyone is a shooter inasmuch as not everyone has a picture making device, However, with the fact that 1.7 trillion pictures are made / taken (whatever) a year and that there are 8 billion humans on the planet, the average number of pictures per human is 125 per year. And, this might be a bit of a surprise, 92.5% of pictures are made with a picture making device which can also be used to make a phone call. Only 7% are made with a “real” camera.

FYI, while the book will have some facts, figures, history, re: picture making, the emphasis will be on how, as the result of the ease of making “good” pictures-i.e. sharp, correctly exposed, referent in focus and the like-the boundaries of what can be pictured and how it can be pictured has expanded like never before.

# 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.