# 6282-84 / common places • common things ~ that is not what I mean

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

“Whether he is an artist or not, the photographer is a joyous sensualist, for the eye traffics in feelings, not thoughts.” ~ Walker Evans.

THE IDEA OF MEANING, RE: AS AN INTRINSIC CONSTRUCT TO BE found in a photograph, has been kicking about the photo sphere of late. So I thought I would contribute my 4 cents (inflation) to the conversation.

Simply written, I do not believe that most photographs have any meaning(s). Hence, my use of the 2 quotes found on the top of this entry. To wit, “photographs…cannot themselves explain anything”, and, …”the eye traffics in feelings, not thoughts.”

Consider this from Susan Sontag:

The fact is, all Western consciousness of and reflection upon art have remained within the confines staked out by the Greek theory of art as mimesis or representation. It is through this theory that art…becomes problematic, in need of defense. And it is the defense of art which gives birth to the odd vision by which something we have learned to call “form” is separated off from something we have learned to call “content,” and to the well-intentioned move which makes content essential and form accessory…it is still assumed that a work of art is its content. Or, as it's usually put today, that a work of art by definition says something.

To be perfectly clear, I am a joyous sensualist and proud of it. My photographs are meant to display / celebrate the the joy / pleasure of seeing. That’s cuz photography is a visual art. Consequently, I have devoted my picture making to the Art of Observation…

”…the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.” ~ Walker Evans

While there are a zillion essays, treatises, and dissertations regarding “content”, aka: what a piece of art says, the cynic in me-or is it the realist in me….I get the 2 confused at times-thinks that it all comes down to one thing; the idea of imbuing art with meaning came about cuz artists want the populous to believe that making art is difficult, all in the cause of covering up the fact that making art is a fun / pleasurable undertaking.

I mean, ya know, how can anyone take art seriously if it comes about from artists just having fun?

Me. I just try to keep it simple and always remember the words of Yogi Berra:

You can observe a lot by just watching.”

# 6276-78 / common places • common things • autumn color ~ whispering, not shouting

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If photography is about anything it is the deep surprise of living in the ordinary world. By virtue of walking through the fields and streets of this planet, focusing on the small and the unexpected, conferring attention on the helter-skelter juxtapositions of time and space, the photographer reminds us that the actual world is full of surprise, which is precisely that most people, imprisoned in habit and devoted to the familiar, tend to forget.” ~ John Rosenthal

# 6262-66 / ordinary life • common places • common things ~ a funy thing happened on the way to the forum

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RE; THE TITLE OF THIS ENTRY: I WAS NOT ACTUALLY on my way to a forum. But the name of that movie popped in my head when I was thinking about how a funny thing happened while I was working my way through my photo library folder looking for a few pictures for submission to a juried exhibition titled, The Poetry of the Ordinary.

It is also worth noting that what happened was not really “funny” but it was arguably laughable that, once again, I discovered a body of work lurking / hiding in my photo library. A body of work that I am titling, Ordinary Life.

Background: As I have previously noted, I have been “experimenting"“ with the concept of making full-frame pictures with the iPhone PORTRAIT setting. About a month ago, I put together 12 such pictures and made a POD photo book titled, A Random Sense of Form, in which is this Statement:

Every day after arising, I move about my house engaging in daily activities which some might consider to be the humdrum of an ordinary life. In doing so, my eye and sensibilities are often pricked by intimate tableaux which evince the potential, when isolated within the frame I impose upon it with my picture making device, for the making of a photograph with interesting visual form.

Even though these pictures are anchored by a truthfully rendered referent, they are rarely about the thing so depicted. Rather, it is the perceived form-the coming together of color, line, shape, space, texture, and value-that I see and photograph which, for me, emerges in my photographs as interesting visual energy and form. Energy and form as found in the, seemingly, most unlikely of places in the everyday world.

When the book arrived from POD source, I showed it to a few interested parties who liked it very much. However, it was not until a few days ago that I picked the book up on my way to bed, settled into bed, and spent some time looking through it. As self-important / egotistical as it might sound, I was both impressed and surprised by the impression it made upon my eye and sensibilities when the pictures were viewed as images on paper, aka: prints, as opposed to viewing them, as I had been doing, on-screen. That experience caused me to think that I was onto something, picture making wise, and that I should concentrate on making a conscious effort-as opposed to my “normal” picture making MO of discursive promiscuity-to create a body of work of such pictures.

That written, it was the next day that a funny thing happened on my way to the forum (sorry, yet another metaphor) during which I “discovered” 40 full-frame pictures in my library made utilizing the iPhone PORTRAIT setting. A happening which made realize how utterly clueless I can be, every now and again, of the fact that I have been creating a body of work without the knowledge that I have been doing so.

In any event, it should be noted there were 2 things saved my picture making ass, unified seeing wise, in the “making” of this body of work. First and foremost, I remained true to my vision. That is, I pictured what I see (form) how I see it. And, second (completely as a result of using the iPhone PORTRAIT setting), the fact that the iPhone PORTRAIT setting requires, a requirement that I sometimes find annoying, that the focused upon referent be within 8 feet of the iPhone. This demand results in the fact that the plane of focus in my pictures all fall within a fairly uniform distance from my picture making position. And, of course, the use of the PORTRAIT setting results in an (apparent) visually similar limited DOF (the visual point of this exercise).

In conclusion, I can write with a firm conviction-and my tongue firmly embedded in my cheek-that I am sure glad that I had the right camera with me when I made these pictures.

# 6259-61 / common places • common things ~ on shooting up the place

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THE TOPIC OF “WORKING THE SCENE” HAS COME UP ON TOP. My immediate inclination is to call BS. That’s cuz the idea of working a scene brings to (my) mind the notion of aimlessly firing a machine gun at a target in the hope that one of those bullets will hit the bullseye. Whereas I believe the best way to hit the bullseye is carefully considered aim, the bullseye firmly fixed in one’s sighting device, and a relaxed squeeze of the trigger.

OK. I apologize. Those last 2 sentences are a bit heavy on the metaphor scale but I think that, most likely, you get my point.

That written, I am not declaring BS on the idea of working the scene inasmuch as a little bit-a very little bit-of working the scene can be useful every now and then. FYI, by a very little bit of working the scene I mean a matter of inches as opposed to firing off shots while break-dancing around a scene. I can write, without reservation, that I have never utilized the making of pictures as part of my calisthenics routine.

All 3 of the pictures in this entry were made over the last 24 hours with but a single pull of the trigger (sorry, yet another metaphor). One shot wonders, all. That written, I did employ my idea of working the scene inasmuch as, before I pulled the trigger (sorry), I did move the camera (sorry, the iPhone) a little bit-inches-while viewing the scene on the iPhone screen in order to get the framing and placement of visual elements where I wanted in order to manage a direct hit on the bullseye with just 1 shot (sorry, sorry, sorry).

The reason that this picture making process works for me, most of time, is that I see with soft eyes which, when a referent pricks my eye and sensibilities, I am able to identify, in my peripheral vision (no eye movement), surrounding visual elements and subsequently (and quickly) recognize how I might use them to create an interesting visual form, the true “subject” that I am always trying to create. Consequently, I am able to get right to the “right” POV with very little wasted effort, cuz I am ”just” photographing what I see.

And, FYI, writing of picture making calisthenics, if I were to be using a tripod-which I no longer do-it would need only 2 head-height positions. 1 set to my standing eye level and the other to my sitting eye level. That’s cuz 99 of 100-or some very close number-pictures I make are made from my eye level. In the case of tripod use, the head might be tilted up or down to one degree or another but, cuz I photograph what I see and, literally, how I saw what I see, it’s all a eye level POV for me.

In any event, re: working the scene, my manner of working a scene works for me. It may not work for many others. Although, it is most likely how those who work with a view camera work. That written, I probably average 2 pulls of the trigger per picture. I do some exposure bracketing and, every once and a while, I move the iPhone an inch or so in order to get an ever so slightly different POV. That’s cuz I wanna be sure I hit the bullseye (sorry).

# 6246-55 / landscape • rist camp • common places • common things ~ hit rate much higher than zero

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HIT RATE ZERO, OR SO MICHAEL JOHNSTON TITLED AN ENTRY, wherein he explained / lamented his failure-“I was cold and really didn’t get anything”-to harvest a few situations (aka: picture making opportunities?). After reading Johnston’s entry in its entirety, I was not surprised, for a number of reasons, that he came home with a “hit rate zero”.

item 1 - “…the magic can't happen unless you're out there with the camera” I believe that the idea of looking / waiting for“magic” to rear its head in the making of pictures is a rather bogus pursuit. That’s cuz I believe that if a picture maker has figured out / recognized in a conscious manner how he/she sees the world-literally and figuratively (in a style representing forms that are recognizably derived from life)-the so called (and, iMo, mis-labeled) picture making ”magic” can happen at any time, any where, for any referent.

item 2 - “…any time, any where, for any referent” (my words). The worst possible intent a picture maker can harbor is going out in pursuit of making a “greatest hit” pictures. I mention this in light of the fact of Johnston’s utterly, totally, completely ridiculous / nonsensical / statement that a “…picture works entirely or it doesn't work at all. Everything's a no that isn't a yes.”

iMo, that statement is one of the most destructive-to a picture maker’s “confidence-opinion I have ever heard/ read cuz, over a life time of viewing exhibitions / monographs of “big-name” picture makers’ work, it can be stated / written that not every picture in a given body of work is a “greatest hit” (whatever the hell that is). However, all of the pictures-some more so, some less so-are all working together in a given body of work to reinforce the visual idea the picture maker is striving to create. Think of it as a visual example of strength in numbers.

item 2A - I believe that going out to create pictures of a specific referent (people, places, things) causes most picture makers to miss all the picture making possibilities that surround them. That is, those possibilities that do not conform to what they are pursuing. Case in point, my picture making MO…

I rarely go out with the intention of making pictures. That written, I rarely go out without making pictures. That’s cuz I do not encumber my picture making activities with the inconvenience of carrying a “real” camera. Rather, I always have my picture making device-the iPhone-on my person so that when something-a people, a place, a thing-pricks my eye and sensibilities, I always have the means to make a picture.

The result of that MO is that I have a ginormous library / collection-some might say a grabasstic cluster f**k-of pictures of all kinds of referents-people, places, things. From this seemingly haphazard, random collection there has emerged-I might add, somewhat organically-a number of thematically coherent bodies of work. Bodies of work that I add to, over time, by the mere fact that I continue to make pictures of what I see as opposed to what I have been told-or even tell myself-what is a good picture.

So, the moral of this story is simple. Forget about making the”perfect” picture and realize that some “less-than-perfect”-aka: nearly perfect-pictures are perfectly suited for inclusion in a body of work. And, that bodies of work are what matters most. Plus, if you must concentrate a specific referent / theme in the act of creating a body of work, when you go out to make pictures, take off the blinders that obfuscate the joy of photography. That is, the simple act of just making pictures of any peoples, any places, and any things.

FYI, included in this entry are handfull of some the pictures I made over the past few days. Discursive promiscuity in action.

# 6243-45 / common places • common things • rist camp ~ defamiliarization and disorientation

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“…By unhinging our customary perceptions of the world, the visual artist forces viewers to experience what has become habitual with renewed attention.” ~ Daniell Cornell

Photography is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere.” ~ John Szarkowski

THE ABOVE EXCERPT WAS LIFTED FROM AN ESSAY which was written to accompany the 1999 Yale University Art Gallery exhibition, Alfred Stieglitz and the Equivalent, Reinventing the Nature of Photography. In the essay the author, Daniell Cornell, introduced an early-tewentieth-century linguistic theory in which a Russian university professor proposed that the function of poetic language was…

“…not to reflect reality but to make it strange…Russian Formalists called the disorientation created by such an estrangement from one’s usual perceptions defamiliarization, identifying it as the central characteristic shared by all artistic representations.”

While I have never spent much time over-thinking the idea of defamiliarization-or, to be honest, ever recognizing it as such-I can certainly write that one of the most common and oft-heard comments, re: my pictures, which i really appreciate is, “I don’t know why I like these pictures but, I do like them.” It now seems obvious, to me, that comment-or a variation thereof-is the result of my picturing making act of employing the concept of defamiliarization. That is, making pictures of referents which are not perceived as subjects for the making of what the great unwashed masses of the picture making world think is a suitable referent.

Most of those viewers of my pictures, when they realize that they like a picture(s), seem to become disoriented, aka: “I don’t know why it like it.” Of course, what they most often fail to realize* is that their liking is not incited by what is depicted but rather by the visual impression, the form, created by how it is depicted-my version of unhinging of customary perceptions of the world-aka: my vision thing…the vision thing which, seemingly, is the by-product of how I see.

*My aim is increasingly to make my photographs look so much like photographs that unless one has eyes and sees, they won’t be seen.” ~ Alfred Stieglitz

# 6238-40 / landscape • common places ~ b + w + some gray stuff in between

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…”flat, leaden skies, intermittent rain. Damp and dark. And dull.” ~ Mike Johnston

IMO, IF YOU ARE GONNA DO MONOCHROME, you must embrace the world in all its weather glory cuz, to paraphrase Paul Simon, all the world's not a sunny day, oh yeah. And I might add, iMo, if you can’t make a rainy, cloudy day look like more than dull, maybe monochrome ain’t your calling.

Then again, I am not a monochrome guy, so what the hell do I know about it?

FYI, BW conversion in Photoshop / LAB Color Space.

# 6232-37 / commonplaces • landscape • rist camp ~ (pre) chimping

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“CHIMPING”, aka: a colloquial term used in digital photography to describe the habit of checking every photo on the camera display (LCD) immediately after capture, is very often used as pejorative in the picture making world. A variety of reasons have been offered as to why chimping is considered to be a bad thing but, whatever the case may be, I bring the word to your attention to lead you to the fact that I consider myself to be, in my picture making manner, a practioner of pre-chimping. I.E., using an LCD screen to see how picture will look before making the picture.

However, it should be noted that I have been pre-chimping for decades, long before the advent of digital cameras with LCD screens. That chimping was performed-in my commercial picture making days-with the use of Polariod film in a variety of Polaroid film backs-different backs for different film camera formats (I even had a Polaroid back for my 35mm Nikon cameras). That chimping was done for the edification of clients-art directors, designers, and the like-in order for them to see and approve how the final picture would look.

Of course, I didn’t need no stinkin’ Polaroid prints to know how the finished picture would look cuz, for a significant majority of my commercial work, I used cameras-view cameras and medium format cameras-that had large-ish viewing screens, most often called ground glass and/or focusing screens. Whatever you choose to call them, the point is I was not looking through a viewfinder.

What I was looking at was an image on a flat “screen” which presented that image in a manner similar to how it would appear on the flat surface of a finished print. That is to write, more 2d-like. Therefore, a much better manner in which to see form-the visual characteristic I seek to create / capture in my pictures.

All of the above written, you could (and probably should) assume that I was never preoccupied with the development of the digital camera EVF. Even with those digital cameras I own that have an EVF, I always make pictures with the use of the LCD screen, the only exception being picture making situations which feature fast action. I am not at all bothered by the perception of some, especially “serious” amateur picture makers, that I appear to be, when holding a camera out in front of my face, a lame / clueless snapshooter. Or, much less how, on the other hand, I am perceived when holding my Phone in front of my face while making pictures.

Needless to write, one of the reasons I really enjoy using the iPhone is that very nice viewing screen where upon form hits my eye like a big pizza pie. My only wish is that Apple would put all of their iPhone picture making goodness into the iPad cuz using an iPad screen for picture making would take me straight back to my 8x10 view camera days. Plus, I would no longer look like a clueless / lame , sappy snapshooter cuz I would mount the iPad on a tripod and use / hide under a view camera darkcloth to make my pictures. So instead, I would be perceived as the big-time, hot-shot picture maker that I really am.