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

June 22, 2023

**from my *single women* body of work** ~ (embiggenable)

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.

# 6560-07 / common things ~ work in progress

May 9, 2023

ONE OF THE SIDE BENEFITS OF SCOURING MY photo library looking for pictures for my An Adirondack Survey project has been the discovery of even more “hidden” bodies of work-unorganized / scattered about my photo library-just waiting to be put together in a coherent collection of themed work.

A case in point is the work in this entry; a body of work for which I do not yet have a title / name. The collection, at this point of discovery, includes 12 photographs, 3 of which-those presented as single photos-I made today. Not really sure how many more might be hiding in my photo library cuz more searching will need to wait until I return from Portugal (leaving this Saturday for 2 weeks).

That written, I will be on the lookout for the making of new photographs for the series.

# 6513-18 / common places • common things • people ~ an adirondack survey

March 30, 2023

THE AN ADIRONDACK SURVEY PROJECT IS MOVING right along. Picture editing has yielded a 165 photographs body of work. 50 of those pictures have been selected for use in a 12x12 book. 20 of those selections will be printed for inclusion in a presentation folio for submission (+ the book) to galleries and art institutions.

And, the ink is flowing. Printing-on my Epson wide-format (24 inch) printer-of the folio photographs is a work-in-progress. A reduced size-10x10-“proof” book is being printed. That book is being produced by the same POD book printing source using all the same specs that the “final” 12x12 book will employ. The proof book will give an opportunity to check on each photo for reproduction accuracy and to get a feel for the editing sequencing. If necessary, modifications-color, brightness, vibrancy, et al-to individual photos can be made prior to final printing. And, it is possible that a few photos might be edited out and substitutions made.

All part of the final fine tuning cuz it all has to feel just “right”.

# 6502-04 / seeing red • common places • common things ~ united diversity

March 12, 2023

OVER THE COURSE OF MY PICTURE MAKING YEARS I have been accused, or at least it has been “suggested”, of being obsessed with the color red. The actual fact of the matter is that I do use the color red-when I see it-as visual element in many of my pictures. However, yet another fact of the matter is that I have never sought out or specifically look for the color red.

“I don’t have to have a single point of emphasis in the picture. It can be complex, because it’s so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.” ~ Stephen Shore

Like Shore, I make visually complex pictures for the same reason he seems to do so; pictures that are “so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.” In my own words, my pictures tend to evince, as a result of their complexity, a high degree of visual energy as seen across the field of a print. iMo, there is very little better than a splash of some repetitive visual element or another in a picture to get a viewer’s eye moving around that picture.

The screenshot included in this entry is used to illustrate another aspect of my use of the color red. That is, to my eye and sensibilities, I find it is quite interesting and somewhat surprising how the same visual element, when shared across a referent-diverse group of pictures can hold that seemingly disparate group together as a coherent body of work.

# 6499-6501 / common places • common things ~ It's true. Really, I swear it is.

March 7, 2023

***it’s true to life*** ~ (embiggenable)

ON A RECENT TOP ENTRY THE IDEA OF A PHOTOGRAPH being true / truthful was raised. A subject which always brings out those who like to dance on the head of pin. Consequently, I very rarely pay much attention to such commentary on the subject. That said, I’ll throw caution to the winds and wade into the subject.

First things first; I believe the words true / truthful are misnomers, re: a photograph. That’s cuz a photograph, a thing in and of itself, is, quite obviously (or should be) not the thing that it depicts. Rather, it is depiction of something. And, to my way of seeing / thinking, in the so-called straight photography world I look for depictions that are reasonably accurate representations, inasmuch as the medium and its apparatus is capable, of the thing depicted. And I leave it at that cuz I know…

“…. most serious photographers understand that there's this large gap between the world and how the world looks through a photograph. ~ Stephen Shore

Despite the “large gap between the world and how the world looks through a photograph”, straight photographs, made by both serious photographers and amateur snapshooters, all illustrate recognizable subject matter. Simply put, the depicted referent is recognizable cuz the depiction thereof-the visual essence-is reasonably accurate.

Does that make a given photograph truthful? Well, according to the dictionary-(of artistic or literary representation) characterized by accuracy or realism; true to life-the answer is “Yes, it is truthful.” However, I would write that the visual essence of a straight photograph can be accurate, realistic, or, if you prefer, true to life.

Which leads to this conclusion:

There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.” ~ Stephen Shore

All of the above written, there is a catch / fly in the truthy ointment of any given photograph; a photograph is capable of having two different attributes - the literally depicted referent, and, the content, aka: the picture maker’s concept-driven intent (often labeled as the meaning to be had in a photograph). These are two very different things.

Although, to the eye and sensibilities of the picture maker these two attributes-the visual essence and concept (which the picture maker believes to be true)-are inexorably / intrinsically linked. However, to the eye and sensibilities of a viewer of any given photograph, as Susan Sontag has noted….

“Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy.”

….a picture maker’s conceptual truth is, at best, illusive. And, even if discerned, it could be-re: in the sensibilities, if not the eye, of a viewer-to be un-truthful.

So, getting down to brass tacks, re: can a photograph be truthful? The answer, iMo, is both “Yes.” and “No.” That is, “Yes.”, re: visual essence, and “No.”-or maybe better put as “Anyone’s guess.”-re: the implied concept.

In any event, I am not much concerned about the truth in photography thing cuz, like Garry Winogrand…

“I photograph to find out what something will look like photographed.”

# 6489 / roadside attractions • flora • common things ~ picture makers just want to have fun

February 23, 2023

AS PART OF MY PORTFOLIO SUBMISSION TO GALLERIES, re: roadside attractions, an artist statement is mandatory. Writing one is always a bit of challenge cuz, if it were allowed, I would write one that stated, I made these pictures cuz I photograph whatever pricks my eye and sensibilities and I like the way they turned out.

However, that would be laughed out of court as inadmissible. So, instead, I am writing, in part, something that reads like this…

…. my eye and sensibilities impel me to make photographs of seemingly haphazard confluences of variegated flora and detritus …. (that) evince a riotous visual energy; an amalgamation of texture, line, shape, color, and value …. intimate landscapes that manifest-both literally (these are pictures of the real world) and metaphorically (the concept behind the work)-the essence of the energy and forces at work in the lives of all living things ….

For me, the challenge in writing an artist statement is to avoid telling viewers how to look at / what to look for in my pictures. I would not worry about this as much if it were possible to not give viewers an opportunity to read an artist statement until after they have viewed the pictures.

That written, I do believe that artist statements are intended to be read by gallery directors so that they can be assured that the work was made by a “serious” artist, not by some guy with camera who is just having fun.

Be that as it may, the statement is still a work in progress. However, I do have a deadline for a submission that is due by next Tuesday.

# 6482-88 / roadside attractions • flora • common places ~ drive by shooting

February 22, 2023

“Anything more than 500 yards from the car just isn’t photogenic.” ~ Edward Weston

DURING THE PAST COUPLE DECADES I HAVE amassed in the neighborhood of 150+ pictures that were made within 20 yards of my car; my car which was pulled over to the side of the road. And, in almost all cases the pictures were made with my feet firmly planted on the edge of the road. Hence, from that picture making M.O. comes the title, roadside attractions.

This practice is the not result of my being lazy or lame. Point of fact, I have ventured far from the road-10-20 miles into the forest / wilderness on foot or in a canoe-spending up to 4-5 nights in the backcountry. Needless to write, I make lots of pictures on those treks.

That written, what pricks my eye and sensibilities along the roadside is the abundance of intimate landscapes brimming with the potential for the making of photographs with a high content of visual energy /complexity. Tangles, thickets, and clusters of bio-diverse, indigenous flora / detritus present a riotously complex visual symphony of color, line, shape, and texture that, when isolated and “organized” within my imposed frame, conspires to give the eye no place to rest.

FYI, years ago, when I began this M.O., my son, the cinemascapist, had labeled this picture making practice my Jackson Pollock picture making state of mind (and eye).

In any event, I am assembling a couple roadside attractions print portfolios, together with a photo book, for submission to galleries. See more roadside attractions pictures in the new gallery on my WORK page.

# 6465-68 / windshields • hockey ~ and now for something completely different

February 13, 2023

***he’s a Vermont Lumberjack and he’s OK*** ~ (embiggenable)

***waiting in line for the ferry*** ~ (embiggenable)

***sunset as viewed from on the ferry*** ~ (embiggenable)

I BEGAN MY µ4/3 LIFE WITH THE PURCHASE OF an Olympus E-3 DSLR - pre-mirrorless era. After moving on to Olympus mirrorless cameras, I used the E-3 as a prop inasmuch as, when making pictures for commercial assignments, I had it around on shoots to validate to the client the idea-image wise (in the personal image sense)-that I was a professional photographer. In other words, pay no attention to those little amateur looking cameras which, of course, were making much better image files than the big impressive looking camera.

That written, this weekend past, I was tasked with making pictures of my hockey-playing (Juniors in the Eastern Hockey League) grandson (FYi, he’s playing his way up the ladder to college hockey). So, out comes the E-3, emerging from its current state as a paperweight, cuz it is, together with my 50-200 f2.8 lens (e10-400mm), my best tool for hockey action picture making. It has been so long since I have used the camera, that I had to almost relearn how to use it. Not to mention the time spent finding all the pieces - batteries, charger, cards, camera strap, et al.

In any event, one of the challenges of making reasonably sharp hockey action pictures is the problem, at ice level, of shooting through glass. That is, “glass” which is actually well scratched and marred plexiglass. Fortunately, a tele lens focused on a referent well away from the glass helps diminish, but not eliminate, the scratches and mars but, nevertheless, you are still shooting through what might be labeled as a pretty thick diffusion filter.

My grandson’s team, the Vermont Lumberjacks’-hence the spiffy red checked, flannel pajama -looking uniform-home rink is in Vermont and it requires a ferry ride across Lake Champlain to see a game. Last evening, on our ferry ride home, the wife and I were treated to very nice sunset which was very different from our midnight-a pitch black, cloudless sky before moonrise-ferry ride home after Saturday night’s game.