# 5928-39 / kitchen sink • civilized ku ~ yakkity yak

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HAVE NOT POSTED IN A WHILE FOR A COUPLE OF reasons. Even though I have been making quite a few pictures over the last week or so. I have not had any significant thoughts / ideas, re: the medium and its apparatus, during that time. Since I like to include something about the medium and its apparatus along with my pictures, I just have not had the inclination to post an entry.

One of the things that can incite me to post is convoluted / loopy posts found on the interweb. But even that fodder for posting an entry has gone dry inasmuch as there is a lot of sameo-sameo out there. I mean, how many times can one comment on the fact that a certain gearhead illustrates, on a daily basis, that picture makers who are obessed with gear are intrinsically incapable of making a picture worth viewing? And, who really gives a crap about ice dams on pool shed?

In all fairness, in my case, how many times can I write about how much I appreciate making (and viewing) straight pictures or the idea of form as expressed in my pictures? Hell, even I am getting tired of it - that is, tired of writing about it but not about making pictures wherein form is important?

# 5897-98 / around the house ~ who cares about the mechanics?

the heat don’t work cuz the vandals took the handle ~ (embiggenable) • iPhone

window needs cleaned ~ (embiggenable) • iPhone

I AM GIVING THOUGHT TO NO LONGER TAGGING MY pictures with iPhone nomenclature. I started doing so shortly after I began pictures almost exclusively with an iPhone. Doing so was instigated by the desire to be a kinda poke-a-stick-in-the-eye of the idiots who were, and many cases still are, denigrating the iPhone as unsuitable use as a “serious” picture making device.

What has got me to thinking about ending this nomenclature practice is the fact that I have become increasingly sick to death, re: camera fanboys/girls who are forever telling us what a marvelous-the best camera ever made-camera they use…I’m especially addressing-but not exclusively-the Leicophiles-like the guy out there who wrote, “Seeking the wisdom of generations of Leicophiles-out there who think their pictures are something special cuz they use the Leica system. Although, in my experience, all that bragging usually means that the pictures are actually nothing to write home about.

In any event, I have no desire to be considered / viewed as an iPhone fanboy. So, I think the solution is to have a single all pictures made with an iPhone unless otherwise noted statement on my blog and WORK page. That is, unless, of course, Apple decides to underwrite my picture making with a $100K grant.

# 5891-94 / the light (civilized ku) ~ a perspective on light

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AS I WAS RUMMAGING IN MY PICTURE LIBRARY I DISCOVERED that; 1. I have quite a number of pictures which were made due to “the light” and, 2. even though I have made a the light photo book, I have never made a the light gallery for my WORK page.

As I was organizing quite few (40 and more to come) of my the light pictures, it came to my awareness that many of those pictures where made with the 1.5mm (13mm equiv.) on my iPhone or, from the way-back machine, the 12mm lens (24mm equiv.) on my µ4/3 cameras. In the case of the 4 pictures in this entry, they all include doors and the exaggerated perspective of an ultra-wide angle lens. All of which leads me to the question …

….should I pursue the making of a complete body of work titled, a perspective (pun) on light and doors (or some such title)? And, if I were to do so, would it also be pictures that are about photography? That is, pictures which illustrate a specific visual characteristic intrinsic to the tools of the medium (as an example). A characteristic like narrow DOF or, as in this case, exaggerated perspective.

FYI, a thought about my use of “the light”….obviously, for me, “the light” is not the light that so many pictures makers salivate over, late day warm Hudson River School light. Rather, my “the light” is just ordinary, everyday sunlight which, when streaming through an opening-a door, a window, et al-creates a visual element which I use as an piece in the visual jigsaw-puzzle field created by / imposed by my framing. Or, in other words, the pictures I make that are instigated by “the light” are not about or defined by that light.

# 5884-86 / around the house • kitchen life • people ~ feeling it

I’ve been taking my temperature more often lately ~ (embiggenable) • iPhone

the light switches are in the off position ~ (embiggenable) • iPhone

carpet protects the porch floor from heel marks ~ (embiggenable) • iPhone

ON MY LAST ENTRY, A COMMENT WAS LEFT BY STEPHEN McATEER:

Some people I used to read on the internet seemed to think that a photograph had to have 'Meaning' to be any good….My own view is that it is a good photograph if it pleases the eye. Meaning does not interest me in the least.

To clarify my thoughts on meaning to be seen / found in a photograph, I believe every photograph ever made has some meaning or another, even if only to the individual who made it. However, that written, once the photograph is offered for viewing to those other than the maker, what the photograph means (if anything) is anyone’s guess.

Truth be written, I spent a lot of time, used a lot of internet space, and typed a zillion words over the years (on this blog and my previous blog) speculating / festering, one might even say “obsessing” about meaning in photographs. ASIDE: Stephen might even have been taking a shot at me, re: “used to read on the internet” wise. END OF ASIDE That endeavor was due primarily to my concern, re: did my pictures have any meaning? That concern was based up my very loose acceptance of the idea that “a photograph had to have 'Meaning' to be any good”.

After intense and protracted looking for meaning in my pictures, I discovered that, shockingly, there was none to be seen / found. However, what I did find was that all of my “good” pictures shared a common characteristic - that is, they all incited feelings and sensations instigated by their visual-senses activation. There was nothing to" “interpret”, nothing to “understand”. Their “goodness” was predicated upon how a picture looked and how that “look” pricked my eye and sensibilities.

If how a picture looks is the basis for a viewer to look for meaning in a picture-literary, cultural, art theory, historic connections, et al-so be it. I am not suggesting that there is nothing of the sort to be seen /found in my pictures. However, in the making of my pictures I am not trying to instill / insert any meaning. My intent is to make visible the experiences I see / feel as I traverse the planet-with my eyes wide open-in a manner that pricks my eye and sensibilities and of those who view my pictures.

That written, and despite the fact that the visual referent(s) depicted in most of my pictures is not what the pictures are about, some of those pictures can, and do, hold special meaning for me.

So, when all is written / said and done, I do not see meaning v. pleasing to the eye as mutually exclusive ideas. My only problem with meaning in photography is with those who elevate meaning, aka: content, over form. Or, when doing so, eviscerate a picture by dissecting / breaking it down into pieces.

FYI, you may noticed the non sequitur-like captions with the pictures in this entry. I am playing with the idea of mis-direction, re: providing a caption to a picture which causes a viewer to try to figure out what a picture is really about cuz it can not possibly be about what the caption seems to imply that it is about.

# 5873-75 / around the house • kitchen life ~ picturing experience

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JOHN SZARKOWSKI WROTE (c.1976):

…it is true, as I believe it is, that today’s most radical and suggestive color photography derives most of its vigor from commonplace models…[I]n the past decade a number of photographers have begun to work in color in a more confident, more natural, and yet more ambitious spirit, working not as though color were a separate issue, a problem to be solved in isolation (not thinking of color as photographers seventy years ago thought of composition), but rather as though the world itself existed in color, as though the blue and the sky were one thing….[they] accept color as existential and descriptive; the pictures are not photographs of color, any more than they are photographs of shapes, texture, objects, symbols, or events, but rather photographs of experience, as it has been ordered and clarified within the structures imposed by the camera.

And, speaking of experience, here’s what Joel Meyerowitz had to say:

I don’t want to talk about one aspect of these pictures over the rest. The fact is, I’m trying to photograph the wholeness of my experience. I’m trying to pass that experience back into the world…[T]hat’s what it’s about-the location of the subject, it’s about the passage of the experience itself, the wholeness, though you back into the world, selected by your native instincts. That’s what artists do. They separate their experience from the totality, from raw experience, and it’s the quality of their selections that makes them visible to the world.

Add to the idea, re: Szarkowski’s and Meyerowitz’s photographing experience, Meyerowitz’s sensation of “feeling”…:

I see things-this is my life-I look; I make visual images…[I]t’s what I’ve done since I was a kid. I feel things…[I] love sensations. But ,within the limited range of sensations that I am responsive to, certain optical things excite me...[I]f I am in a good place, where there’s lots of visual activity, I become supersensitive. I receive many signals and I pick and choose among them.

…and I have started to think that I need to reassess the idea of so-called “vision “ as it is most commonly bantered about / understood in the “serious” amateur picture making world.

# 5863-67 / landscape (civilized ku • ku) • around the house ~ working different

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I SORTA GOT SIDETRACKED BY THE IS-SQUARE-GOOD-FOR-LANDSCAPES thing along with a dose of BW infatuation. Using the work of Robert Adams as markers / aim points for both ideas, as well as rummaging around in my picture library for pictures which were suitable for RA-like (signs of man in the landscape) conversion to BW, I am well satisfied that, for my picturing, square and BW digital BW conversion processing is good. I might even state that it is very good.

Re: digital conversion / processing for color > BW. From time to time I come across, most recently on T.O.P., the idea that digital is not BW picturing friendly. That the only way to achieve the best BW pictures is via the analog, aka: film, picture making process. I disagree….

…That written, I am not here to debate one process against the other. Rather, the position I take is that digital BW images can be created which compare-that is, if comparing is your thing-very favorably with film created BW images. Me, I’m not into “comparing”. Nor am I a life-long devotee of BW picture making.

Sure, sure. Back in the analog days, I had my very own soup-to-nuts “formula” for making BW pictures - preferred film, developer, developing times / agitation, (my own “personal” zone system) + my preferred printing system - condenser enlarger, specific developer, specific graded paper. My formula produced BW prints that I liked very much. Not to mention, I truly enjoyed my private time in the darkrooms (1 for film processing, 1 for printing).

At the same time there were those who took the I idea of creating a personal BW picturing, processing, printing formula to an extreme. Example: I have overheard many a photo club conversation hotly debating the type of bulb to be used in an enlarger head. They loved to tinker with the process to the point where, in some cases, it was the reason they were involved with photography.

In any event, I’ll leave you with a hint-I have mentioned this previously-for making really good BW digital image files. The process is simplicity itself - open an RGB color image file. Convert to LAB Color Space, Discard the a and b channels, leaving only the Lightness channel. Convert to Grayscale. At this point you now have an image file that contains only the lightness values-independent of any color values-extracted from your original color file-THIS NOT THE SAME THING AS DE-SATURATING THE COLORS IN A COLOR FILE-not even close.

Once I have the Grayscale file, I will usually make small tonal adjustments in Photoshop to bring the tonal values in line with the feel of the original color file, therefore in line with the actual scene.

RGB original / LAB conversion Grayscale ~ (embiggenable) • iPhone

# 5853-57 / still life (kitchen life) • landscape (civilized / ku) • people ~ this and that

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THE MORE YOU LOOK, THE MORE YOU SEE. The more you see, the more you make pictures. The more pictures you make, the more you wonder what the hell you are going to do with all of them.

I have yet to come up with an answer / solution to that dilemma.

# 5838-39 / landscapes (ku) • civilized ku ~ simple is as simple does

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f8 AND BE THERE. WHICH IS A QUIPPY WAY OF SAYING, if you have your picture making device handy, no matter where you might find yourself (aka: “there”) you are ready to strike when the iron is hot. It ain’t rocket science and, iMo, it sure as hell ain’t hard (aka: difficult).

Consider Robert Adams’ idea about art:

'“if the goal of art is to be reached: only pictures that look as if they had been easily made can convincingly suggest that beauty is commonplace.” – Robert Adams

iMo, if you want to make a picture look simple (aka: “easily made”), keep it simple.