# 5788-89 / civilized ku (landscape-ish)•people (me) ~ my lack of education hasn't hurt me none

fisheye selfie / Japan ~ (embiggenable) • iPhone

fisheye selfie / Japan ~ (embiggenable) • iPhone

(embiggenable) • iPhone

CLIMBING INTO THE WAY-BACK MACHINE, THAT'S A picture of me, the year is 1968 / the location a camera shop in Japan, making a selfie with the use of a fisheye lens. Seems appropriate to post that picture as an intro to fulfilling my promise to tell the story of how I became a photo journalist within 6 months of picking up a camera for the very first time....

.... background: in 1966 I was drafted into the US Army* where, as luck and the spin of the wheel would have it, I was trained as a supply clerk. After training I was sent to Japan begin my tour of duty. However, upon my arrival in Japan, the Army noticed I had real-life experience with drafting, so, they ditched the supply clerk thing and made me a drafstman (making charts and graphs). I was assigned to a command headquarter where I toiled away making charts and graphs in air-conditioned comfort.

In any event, there I was, halfway around the planet, without a picture making device. But, lo and behold, I was in the land of big camera store in the sky, soooo, I purchased a camera-a Petri fixed-lens rangefinder-and began making, tourist wise, pictures. Soon after getting the camera, I discovered that the base rec center had a fully equipped (BW film and print, color slide processing) darkroom facility. Again, as luck (fate?) would have it, within a few weeks of getting a camera, I was processing film (spooling it on reels) and making prints, none of which seemed much like rocket science to me.

A few months later, I learned of a US Army photo contest. A contest which started at the local base level and progressed through several stages, ending at the final stage, the world wide level. A picture had to win (top 3) at each level to keep advancing in the contest. I entered 3 slides in 3 different catagories. All 3 took 1st place in each catagory and advanced to the Western Pacfic level of the contest where, again, they finished in the top 3-2 1sts, 1 HM-for each catagory and it was on to the All-Pacific / Asia level. 2 of the 3 pictures were awarded 2nd HM which was not enough to advance to the next level.

Needles to write, I was impressed with myself and, as I discovered, so was my company commander + base commander (a general) as well as the US Army Theater commanding general. The net result of that attention was a ceremony with the Theater commanding general (a 3-star) where I was awarded a certificate and a slew of US Saving Bonds. It should go without writing, but nevertheless, I was beginning to think this picture making thing was fun.

Fun aside, it was back to work as a drafstman until, a few weeks later, the base photographer was rotated back to the States and, as once again luck and the spin of the wheel would have it, the base Information Offce, just down the hall from my office, was left without a replacement. It took me all of a minute to raise my hand, metaphorically writing, and selflessly volunteer to fill the position.

It took the IO office hierarchy about 2 minutes, based upon my photo contest success, to say, "You're hired." (albeit in military speak). I was handed a 4x5 Speed Graphic (following in the footprints of Weegee) with a bunch of 4x5 film holders and put to work making pictures of army life / events, to include photo essays for the command newspaper, some of which were picked up by Stars and Stripes.**

And so it began, a career and a life in photography.

If there is a point to be made in this telling, it is that, as hindsight would have it, I can write (without a doubt), that I owe my picture making success to the fact that I started making pictures without a single bit of instruction / training / education (not then, not ever). I just started making pictures without knowing the "rules" (ignorance is bliss) or, for that matter, what was considered to be a good picture. Rather, I just made pictures which were the result of how I see the world. An M.O. which has served me well both in my commercial and fine-art picture making endeavors.

* I had recently dropped out of college cuz I had no idea whatsoever, re: what I wanted to do for the rest of my life.

** Stars and Stripes is a daily American military newspaper reporting on matters concerning the members of the United States Armed Forces and their communities, with an emphasis on those serving outside the United States.

# 5783-87 / landscape (ku)•civilized ku ~ imitation is the sincerest form of missing imagination

Sunday afternoon on a porch ~ (embiggenable) iPhone

along a country road ~ (embiggenable) iPhone

along a country road ~ (embiggenable) iPhone

along a country road ~ (embiggenable) iPhone

along a country road ~ (embiggenable) iPhone

THERE HAS LATELY BEEN SOME CHATTER AND NATTER, re: cliche, bouncing around on the interweb. Things like, what is a cliche?, how to avoid making cliche pictures, and the like. And, as is the usual case, the answer to such conversation provides a wealth of fodder for the idea of my Top insert number here Pieces of Photography Bad Advice and Sayings project. A prime example:

Photography is fundamentally a craft...[which] still requires learnin’.'Making pictures that look like' pictures that you admire is a landmark in that process for many, perhaps most, people. So I’d encourage newbies to make many such pictures and study them....Once you’re able to intentionally make that trite image of the Grand Canyon, the Eiffel Tower, or the Brooklyn Bridge you’ve achieved competence with the gadget. Now for the fun part.

To that nonsense I say, "Balderdash". The last thing one should do, for the purpose of making fine-art, learning to use a "gadget", or, finding one's vision, is to make "pictures that look like pictures that you admire". Rather, one might consider, as Brook Jensen suggested, to stop making pictures that "look like what you have been told is a good picture and start making pictures of what you see".

That written, re: "craft" - everyone who aspires to making good pictures, fine-art wise, needs to learn how to use a "gadget". iMo, the best manner in which to do so is to stand on the street in front of where you live-same spot again and again-and make pictures in the sun, in the rain, in the snow, in the fog, in the dark to include people walking, cars driving by, dogs chasing cats, garbage cans, discarded soda straws, or whatever else you might find / see in front of you.

And, most importantly, keep it simple...one camera, one lens, and adjust only fstop, shutter speed, focus, and ISO (as might be needed). DO NOT, UNDER ANY CIRCUMSTANCE, engage in any menu diving cuz the aforementioned gadget functions are all you need to "master" in order to start looking for one's own vision. iMo, menu diving is for "serious" amateurs who don't have, and quite probably will never have, their own unique vision.

In any event, the "learin'" process should only require a few weeks of one's time, 2-3 weeks at most. If it takes more than that amount of time, maybe consider selling your gadget and taking up The Art of Motorcycle Maintenance.

FYI, in my next entry I will address how, within 6 months of picking up a camera, I was making my living as a photo journalist. HINT It did not happen cuz I was making pictures that looked like what I was told was a good picture.

# 5779 / (in and) around the house ~ I am a formalist, always have been

(embiggenable) • iPhone

IN THE CHAPTER, Color Photographic Formalism, FROM HER BOOK the new color photography, Sally Eauclaire pretty much nailed my picture making M.O.:

...the most resourceful photographic formalists regard the complexion of the given environment as potentially articulate aesthetic material. They consider the subject and its visual essence as indivisible….these formalists perceive real objects and intervening spaces as inter-animating segments of a total visual presentation....Each photograph represents a delicately adjusted equilibrium in which a section of the world is coopted for its visual possibilities, yet delineated with the utmost specificity. The resulting image exists simultaneously as a continuous visual plane on which every space and object are interlocking pieces of a carefully constructed jigsaw puzzle and a window through which the viewer can discern navigable space and and recognizable subject matter...The most sophisticated practitioners do not work with glib formulas, but combine various tactics in response to the particular demands of each image-making situation. Most formalists now embrace complicated arrangements wherein balance is more intuitively attained and strategy less obviously revealed.

In the same chapter, Eauclaire also wrote about the then-c.1980-issue evident / prevalent as expressed by viewers and critics of what she labeled as the new color photography:

Those receptive to the subtle, sequenced impact of a multilayered image are far outnumbered by the audience who believes a good photograph must be instantly accessible. When the subject seems missing altogether, the photographer may be accused of pulling the wool over the eyes of critics, curators, and the public.

All of the above written, I present these excerpts as part of my research for background, re: a potential book-Top insert # here Worst Sayings / Pieces of Photographic Advice., aka: "glib formulas". Thing is, if I am to do a book, it will be my intent to try to not only disabuse readers of the need for "rules" but also to give them, when they are standing naked and alone (rules wise), some ideas about picture making based solely upon the "strategy" of just seeing.

# 5774-75 / kitchen sink•kitchen life ~ don't follow leaders, watch the parkin' meters

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

OVER ON T.O.P. MICHAEL JOHNSTON HAS SETOUT TO DIVIDE HIS writing time-roughly equally-between his blog and an attempt to write a book. I wish him luck (seriously) but I am not sure that idea is going to work inasmuch as I believe that writing a book and writing for a blog are activities that each demand 100% dedication in order to be successful in either activity.

In any event, I mention the above cuz I have given thought over the years-instigated by the wife's sugestion to do so-to writing a book about photography. However, the unanswered question over that time has always been about the problem of selecting a specific photography topic to write about....topics such as how to..., art theory, history of the medium, my life experiences in making pictures, to name a few.

That written, one topic that has risen to top of the topics heap is the idea of The Top 10 Worst Pieces of Picture Making Advice. That's a likeable idea cuz one could have some fun with it. And, it is quite possible that a book on that topic has never before been written.

As an example, one such piece of bad advice that has recently been on my mind is the oft espoused adage, re: when starting out making pictures or looking for "inspiration", choose a referent that you care about and start making pictures thereof. To which I respond, "Hogwash", inasmuch as that advice is, for the purpose of making fine art, useless. Unless, of course, one desires to be little more than a documentarian. That is, making pictures wherein the pictured referent is the most important thing.

One problem with the aforementioned bad advice, iMo, is that-let me repeat, contrary to the purpose of making fine art-referent-biased pictures tend to lapse into cliche, referent or technique wise, and/or the application of art sauce in order to appeal the unwashed masses (fine art appreciation wise). Or, in other words, for the purpose of making fine art, the emphasis should not be on what you see, but rather on how you see it, aka: recognizing and utilizing one's own, unique vision.

Those 2 preceeding paragraphs written, I believe that I could expand them into a short, succinct essay, accompanied by picture examples which illustrate the point that most notablbe fine art picture makers have realized that they do not need to make pictures of what they care about in order to make visual art. Pictures that are to be appreciated primarily or solely for their imaginative, aesthetic, or thought provoking content.

The challenge for me is to determine if I could do that with 10-20 other pieces of a bad picture making advice.

#5767-70 / landscape (rist camp)•kitchen sink (rist)•kitchen life•civilized ku ~ back to my regular routine

our last evening at Rist Camp ~ (embiggenable) • iPhone

at Rist Camp ~ (embiggenable) • iPhone

my kitchen ~ (embiggenable) • iPhone

my driveway ~ (embiggenable) • iPhone

BACK HOME AGAIN. SITTING AT MY DESKTOP WORK STATION for the first time in 7 week. Lots of image files from recent travels to copy / organize.

However, my biggest task is ongoing work-started at Rist Camp-on an entry in which my intent is to articulate, ultimately for my own satisfaction (and for anyone else who might care to read), why I make pictures and how I see the world (which is the foundation on which my vision is based). This exercise might read something like an artist statement but I think of it as a life of picture making statement.

Don't know when this exercise will be completed since I am taking my time cuz I want to get it right. In the meantime, I will keep on posting entries on a more regular timeline now that I am back home.

# 5758-61 / kitchen sink (rist)•landscape•rist camp ~ the king is dead, long live the king

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

(embiggenable) iPhone

OVER THE PAST 2 DECADES, AS the analog photo world was being swallowed whole by the digital photo world, there arose such a clatter, I sprang from my bed to see what was the matter.

The clatter, of course, was all of the caterwauling, re: the sky is falling and/or the end of photography as we knew it. To be certain, for some-think KODAK-the sky did indeed fall. However, for the picture makers in the crowd, well...the fact is, we just kept on making pictures.

Sure, sure, you might venture, but there was a change. Sure, sure, I would venture but adding, the more things change the more they remain the same. You know what I mean...for example, be it analog or digital, a "real" camera still has aperture, shutter speed, and focusing "mechanisms". Hell, even a cameraphone module can have the same via photo apps.

And, sure, sure, the sky fell for the analog photo lab industry but virtually every "serious" picture maker I know, print making is alive and well. And, much of that output ends up 0n gallery-or the like-walls. Hell, even the wonderful, "dumpy" little diner pictured in my last entry had 5 20x30 inch prints for sale on their walls.

So, all of that written, when I encounter / read crappola like the following-via VSL/Kirk Tuck...

Photography as I practiced it ten, twenty and thirty years ago is pretty much dead now. Frequent shows of prints in galleries, and print sales to individuals seem absolutely passé....Images are now a consumable and not a physical collectible, object.... [cuz, according to Kirk] it all gets crunched down onto a screen.

...I feel like I have to respond.

With all due respect to Mr. Tuck-anyone who has made a steady, good living in the commercial photo world deserves respect-I 100% disagree with his sentiments as quoted above inasmuch as I practiced photography (commercial and personal) starting 50 years ago and, from my perspective, the making of pictures has not changed one tiny bit. That is, unless one is concerned gear and technique. But even then, the one constant-the most important concept-has not changed at all...gear and technique never made a picture, it is the picture maker who makes a picture. As you know, hopefully, cameras do not make a good / great picture any more than a typewriter (or the modern equivalent thereof) makes a good / great novel.

All of that written, I also disagree with Kirk's notion that...

Cameras have superseded photography as "the" hobby. So we long time practitioners will find it hard to give up the pursuit of gear.

I understand that sentitmnet coming from Mr. Tuck inasmuch as I believe his picture is in the dictionary along the definition of "gearhead". However, gearheads have been part of the photo world seemingly since its inception, especially so in the "serious" amateur world. Most pro picture makers, myself included, found the gear which they needed to suit their picture making and they tended to stick with it throughout their entire careers. The exception being those whose careers spanned the analog to digital eras.

All of the mentioned specifics in this entry aside, I guess my ultimate bitch is with nostalgia that is based upon specious / false / "romanizied" rememberances of things past, aka: the good old days.

# 5744-50 / nocturnal • landscape • people ~ round and round it goes, where it stops nobody knows

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

BEEN OUT AND ABOUT DOING A VARIETY OF ACTIVITIES. Hikes, night walks, evening dining cruise, tourist cabin searches, to name a few. Also revisited my favorite Adirondack glacial erratic-16 ft tall and fractured. And, I am making a surprising number of pictures.

All of that written, as I sit here making this blog entry, I continue to be rather flummoxed, re: trying to imagine a continuing direction / purpose for this blog.

The fact of the matter is, to be quite honest, I wonder about the viability of the entire photo blog milieu. It seems to me that the only photo blogs with "legs" are those which fester on gear or those that offer up a healthy dose of the cult of personality...2 topics which hold very little interest for me and certainly topics I do not wish to pursue on this blog.

One site that has been holding my interest is Cluadio Turri ~ immagini da un diario. It continues to hold my interest cuz: 1. I like the pictures, and, 2. it is all about pictures (no words). And, as I have repeatedly mentioned, for me, the medium and its apparatus is all about the pictures.

All of that written, I do enjoy reading (and writing) about the medium of photography and its apparatus (aka: apparatus = conventions and practices).

# 5739-43 / civilized ku•nocturnal•a kitchen sink•made from a chair ~ into every life a little rain must fall

rist camp sink ~ (embiggenable) •iPhone

(embiggenable) •iPhone

(embiggenable) •iPhone

(embiggenable) •iPhone

approaching rain ~ made while seated - (embiggenable) •iPhone

DON'T KNOW WHY IT COMES AS SUCH A SURPRISE that here in the Adirondacks in the month of September-where did the summer go?-the daytime temperature only climbs to about 70˚F from a nightime low of 40-50˚F. With a similar 7 day forecast, it appears that autumn color might be arriving on the scene sooner than "normal".

In any event, I continue on my quest to produce nocturnal pictures with the iPhone that, out of the camera, do not look at all like the actual nocturnal scene. On that quest, a few nights ago, I drove the 20 miles to the nearby tiny hamlet of Long Lake. The night sky was overcast with nary a hint of stars to be seen. For my photographic intent that was fine and there were enough man-made scenes to allow me to explore my nocturnal picture making explorations.

That written, I came away with a few pictures which, with subsequent processing, produced the nocturnal look and feel I was after. In a nut shell, that look and feel can best be described as a solitary / isolated illuminated area surrounded by a dark, murky-with subtle detail-area. All in an attempt to capture that mysterious, ill-at-ease, fear of the dark (more or less) that seems to be nearly universal to the human senses.