#6369-71 / common places • common things ~ confined to quarters pt.2

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ABOUT A WEEK AGO WHEN I WAS CONFINED to quarters, it was related to a extreme weather event. This time it’s cuz I am under the weather (to use a commonly expressed idiom). The “weather” in question this time around is Covid.

My symptoms are quite mild with extreme fatigue being the featured ailment. While this could not have happened at a more inopportune time, I should be out of isolation-my bedroom which, fortunately, is a suite with comfortable reading chairs, a tv, a full bathroom, an insulated porch, and some nice pictures on the walls-on Xmas Eve day.

That written, I do get out of the bedroom every now and then. I can do that cuz there is no else in the house other than the wife who came down with Covid a few days before I did (and then passed it on to me).

FYI, the wife and I both got Covid even though we are both up-to-date on vaccines. Obviously, the Covid keeps evolving but medical knowledge believes that our mild symptoms are due to the fact that we are up-to-date vaccine wise. Who knows? But, iMo, it’s better to try to be safe than to end up being sorry.

# 6366-68 / discursive promiscuity ~ any where, any place, any thing

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AS I MOVE ALONG WITH THE PHILOSOPHY PROJECT /BOOK, I am still trying to come to grips with what the book should be about. During that mental wrestling contest, the only “philosophy” I have come up with, re: why people make pictures, is quite simple (albeit very broad in scope):

Any time, any place, any thing (especially your face). Everyone photographs cuz they like what they see.

No matter under which genre banner a photographer might be toiling- decorative art, fine art, or no art at all-the ubiquitous snapshooters who are simply, without artistic intentions, recording the goings on in their life-I believe it is safe to write that they all like (and photograph) what they see.

Of course, what a photographers “sees” can have a literal and/or a transformative meaning inasmuch as those photographers working under the decorative art banner, along with the ubiquitous snapshooter, are relentlessly and unabashedly wedded to the actual referent depicted in their photographs. Whereas, those toiling under the fine art banner are much more inclined to “see” (and photograph) something that goes beyond the literal visual characteristics of their depicted referent. Thereby causing a change in how the viewer perceives, within the photographer’s chosen framing-and “organization” of line, shape, color, tone, and space-the depicted referent.

All of that written, with either a literal or a transformative picture making intent, I think it safe to write that photographers like what they see cuz, whatever they see or however they see it, they most definitely like it for its potential as fodder for the making of a good picture.

on my way back from the grocery store ~ (embiggenable) - I definitely liked what I saw

# 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.

# 6342-44 / common places • common things ~ this and that

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BEEN MAKING NOTES, MENTAL AND HARD COPY, re: my The Philosophy of Modern Pictures book/project. No rhyme or reason to them yet, just random thoughts on the overall approach and miscellaneous thoughts / words on various topics to include in the book.

One item on which I have been rather fixated is how to describe my picture making M.O. However, as I skitter about the nomenclature landscape, I have realized that my M.O. does not fit neatly into any single genre inasmuch as my work evidences the quality and characteristics of several universally recognized genre - vernacular photography, the snapshot aesthetic, the new topography, to name a few.

That written, I also realize that I may have found the answer years ago when I coined the phrase / descriptor, discursive promiscuity, to explain my propensity to picture any/every thing I see that pricks my eye and sensibilities, aka: what I see. That nomenclature was never intended to describe anything more than my non-discriminatory approach to referent selection. However, I am sorta coming around to thinking that it also works as a descriptor for how I see, aka: a little bit of vernacular, a little bit of snapshot, a little bit of new topography aesthetics all mixed together in my own peculiar, hybred-ish manner of picture making.

FYI, I should point out that I have never been overly concerned with defining the how of my picture making, specific genre wise. That’s cuz the answer to that question, as Paul Strand once opined, “is on the wall”. So, viewers will see what they wanna see. Nevertheless, in the context of my book / project, much of what I will write will spin off of the how (and why) I photograph.

# 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.

# 6326-28 / sink •common things • common places ~ it ain't got no zing if it ain't got that thing

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OVER THE PAST WEEK I HAVE SAT DOWN QUITE A NUMBER of times to write a new entry and failed to do so. That’s cuz, inasmuch as I try to stay on topic, re: the medium of photography and its apparatus (apparatus = conventions and practices), I realize that over the past nearly 2 decades, I have touched upon so many related subjects that most days I feel that I have written everything there is to write about. But nevertheless, I have managed to list a few topics about which I will write over the next week or so…

…one such topic: my idea on how to make a visually interesting picture.

Most “serious” amateur picture makers believe the answer to the question of how to make a visually interesting picture is simple - make a picture of an “interesting” thing (with a dollop of art sauce). That is, q thing and effect that everyone knows about and likes to look at. The result: pictures that are easy to “understand” - the concept of Captain Obvious comes to mind. Or, how about the idea of the mindless pursuit of pleasure, cuz the mind need not get involved in the viewing of such pictures.

That written, while I would highly recommend the pursuit of picturing “common” things in an interesting manner, aka: how one’s own vision sees the world, the single most important “thing” one should pursue is creating the instigation for a viewer of your picture(s) to ask the question, “Why did he/she make this picture?”

That’s cuz, if why a picture was made is easily apparent (pretty is as pretty does), iMo, that picture lacks any reason to get involved with it and, ultimately, has no staying power. In other words, an “interesting” referent, in and of itself, is not enough to sustain extended consideration and contemplation, especially so in the Fine Art World. Rather, it is the printed picture, in and of itself, which must be visually interesting, independent of the illustrated referent.

And what is it that makes a picture visually interesting, independent of the illustrated referent? Answer: Form. That is, 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. The result is a thing, AKA: the print, which not only illustrates, in a literal sense, referents found in the real world, but also illuminates, by means of visually interesting form, visual properties of sections of the real world that lie beyond their mere physical appearance.

So, there you have it. Easy, Peasy. Go forth and make interesting pictures.