# 6415-17 / landscape (ku / civilized ku) • common places ~ is it or isn't it?

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I HAVE NO IDEA WHY I AM CONVERTING, on a regular basis, some of my color pictures to monochrome variants of those same pictures. Short of going into psychoanalysis, it might be due just to fact of a lot of recent online carrying on, re: monochrome pictures / camera conversions wise.

That written, I have made-over time in my picture making life-a fair number of color pictures that appear to be monochrome-made pictures but in fact have a little bit of color. Those pictures are not software / art filter created monochrome pictures with color thrown in for effect. They are actually straight out-of-the-camera pictures with no effects added.

That is to write, the overall scene or primary referent is, by its nature, monochromatic but I let a tiny color element sneak into the frame. Consequently, I do not need to cheat in order to obtain the visual result I desire.

Don’t believe I have enough such pictures buried in my library to constitute a body of work. However, that written, I will make a note in the file drawer I keep in my head to be on the lookout for such picture making possibilities.

# 6412-14 / windshields • landscape • (un)common places ~ throwing stones

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TRUE TO MY PLEDGE IN MY LAST ENTRY, during my time out and about yesterday, I kept my eye open for the making of additional windshield series pictures. While I made a straight picture of the scene, I have to admit that I am becoming even more enamored of the windshield-type views.

Last evening during my 40 mile drive to Saranac Lake-through a driving snowfall-for the World University Games curling semi-finals, I did not make any windshield pictures. The event- GBR v. CAN / USA v. SUI, won by USA and GBR, who will play for the gold medal-was a great example of cowbell madness. What a riotous racket.

After the games, the drive home was even more adventurous than the drive in. So, no more windshield pictures were made. However, today’s drive in to Lake Placid for the Short Track Speed Skating event might be windshield productive.

# 6407-11 / windshield series ~ keep your eyes on the road

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WHILE RUMAGING AROUND LOOKING FOR PICTURES for the Philosophy of Modern Pictures book/project, I discovered that, yet again, there was an unintentionally-made body of work lurking in my picture library. I have labeled it as the windshield series. Although, if it is ever exhibited in Great Britain, it will be the windscreen series.

The pictures in this entry are few examples of pictures from the series. A series of which I am quite fond. So much so that I will begin to deliberately seek out such picture making possibilities. Those possibilities should not be hard to come by inasmuch as I live in a geographic anomaly in that I am at least 30 miles from everywhere.

# 6406 / the new snapshot ~ playing games

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It rarely occurs to such a photographer” - (the lowly householder who desires only to have a camera around the house) “to take a picture of something, say a Venetian fountain, without a loved one standing directly in front of it and smiling into the lensbecause of his very artlessness, and his very numbers, the nameless picture maker may in the end be the truest and most valuable recorder of our times. He never edits; he never editorializes; he just snaps away and sends the film off to be developed, all the while innocently freezing forever the plain people of his time in all their lumpishness, their humanity, and their universality.” ~ Jean Shepherd

BEEN AWAY FROM MY BLOG ENTRY MAKING station for a few days cuz I+wife were entertaining some out-of-town family and hanging around various Olympic venues-curling, speed-skating, ski jumping-watching the Lake Placid 2023 FISU World University Games - 11 days, 2500 athletes from 600 universities and 50 countries competing in 12 winter sports.

We are, and will continue to be after our guests have left, planning to continue with watching the curling competition and the ice hockey semi and final rounds. Last evening we attending the men/woman’s ski jumping competition which was won by a Polish woman and Pakistani man respectively.

FYI, while all of the competitors are students, some are also World Cup / Olympic athletes so we are seeing some pretty damn good performances. Tickets for most events are $15US-$9US with the locals 40% discount. That’s a pretty good bang for the buck.

# 6396-6405 / discursive promiscuity ~ a time line

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SOME DEFINITIONS, RE: the philosophy of modern pictures

re: modern - for the purposes of this book / project I am inclined to define “modern” as beginning c. 1970 and proceeding to the present. I base that designation upon the fact that it was around 1970 that, in the major and minor league Fine Art World (which is the focus of the book / project), picture makers began-in a dramatic and terra firma shaking turn of picture making conventions-to take seriously the making of color pictures. And, it was also around that time that the BW Pepper and Rock era was on the wain.

Another reason for that designation is that-again around the same time-major art institutions were beginning to take note of and exhibit what Sally Eauclaire dubbed as the new color photography. Think MOMA’s 1976 Photographs by William Eggleston exhibition as a prime example.

ASIDE There are, of course, exceptions to my “modern” picture time frame. Eliot Porter’s work, as presented in his 1962 book In Wilderness Is The Preservation Of The World, is an outstanding example-early on it opened my eyes and sensibilities-of color picture making that, in a very real sense, foreshadowed the 70’s color picture making revolution. In fact, I would not object if someone (that would be me) opined that Porter’ work was the bedrock upon which the 70’s color photography revolution was predicated. END OF ASIDE

c.1970 is, iMo, is also notable for the fact that the new color photography picture makers “discovered” that any thing in the real world could be a suitable referent for the making of a color picture. Ya know, say “hello” to kitchen utensils-Jan Grover-and a tricycle on a suburban street-William Eggleston. Quite truly, the world was, and still is, our oyster.

So, like it or leave it, c.1970 > the present is it.

# 6383-88 / common places /things ~ winter

WINTER IS NOT PRIME TIME PICTURE MAKING for my eye and sensibilities. That is most likely due to the fact that the white landscape does not normally possess the visual complexity that pricks my eye and sensibilities. However, when I am driving about the place, I do encounter some picture making opportunities; emphasis on driving about inasmuch as most of my winter pictures made over the past decade or so have been made from the roadside about 20-30 feet from my car.

That situation is somewhat ironic cuz, prior to moving to the Adirondacks 23 years ago, most of my winter pictures were made quite a distance from my car - at 5,000+ft. elevation, above treeline, many miles from my car, in 0ºF weather, in the dead of winter, deep and high in the Adirondack High Peaks Wilderness Area. FYI, the Algonquin pictures below were made with my Pentax 110 SLR. I have the complete system - extra body, film winder and 4 lenses.

climbing Algonquin in a near whiteout blizzard ~ we eventually dropped back down below treeline to pitch camp and find shelter from the raging wind. c.1982 (embiggenable)

Algonquin at sunset ~ c.1982 (embiggenable)

Algonquin pre sunrise ~ c.1982 (embiggenable)

# 6377-79 / street • people • places ~ a bit of history

Ryuku Isalnds, Okinawa, Japan ~ c. 1967 (embiggenable)

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Ryuku Isalnds, Okinawa, Japan ~ c. 1967 (embiggenable)

1966-68 I LIVED IN JAPAN, A LIFE EVENT that changed / shaped my life inasmuch as it was the place (and culture) in which I discovered the medium of photography and its (Eastern) apparatus….

BACKGROUND:….In early 1966 I gave up on college and by June of that year I was swept up by Uncle Sam in the troop build-up for the Vietnam War. As luck and a spin of the wheel would have it, after basic training I was sent to supply clerk training-not infantry training!-after which I was sent to Okinawa, Japan-not Vietnam!

Within 2-3 hours of my arrival, I encountered yet another bit of good luck (although I did not fully appreciate it at the time); in its infinite wisdom, the US Army-noting some drafting experience on my civilian record-told me to forget all that supply clerk stuff cuz I was gonna be a draftsman assigned to a command headquarters company. A company which was barracked in a little enclave positioned 8 miles from the main base, a place which was, for all intents and purposes, out of the sight and mind of command oversight. A situation which was finagled by the company commander who was just killing time while waiting to be discharged.

As a result of that situation, and the fact that most of the company’s ranks were working in a wide a variety of tasks and different locations, we were not subject to typical military rituals. We basically had 8-5 / 5 days a week jobs and, as long has you showed up to work and did your job, we were free do just about anything we desired. In fact, quite a number of our ranks lived “downtown”, shacked-up with a local “sweetheart”.

Re: Photography: Finding myself in a foreign country / culture, it made sense to buy a camera. And, duh, there were camera stores galore, seemingly on every street corner. So, I got me a Petri fixed lens rangefinder camera and within a couple weeks I was processing all my film, color transparency and bw, and making bw prints in the well equipped recreational base photo lab. Photography wise, I was off and running….

….fast forward to early-1967 - by this time, after learning I could go home, get married, return to Okinawa with my (then) wife and live off-base (with a housing and food allowance), my army life became even more 8-5 / 5 days a week job like. Life was sweet and I was making lots of pictures until…

….I had entered 3 pictures (in 3 different categories) in US Army’s worldwide photo competition. All 3 won in their category and continued to move on up the competition ladder until they reached the top, aka” final, level where my run came to an end. Having only been making pictures for about 6 months, I was pretty pleased with myself and started to think that, maybe, just maybe, there might be a future for me in this picture making thing. Little did I know…

…a few weeks later-after collecting my winning booty from the theater commanding general in a big tadoo-as I was sitting at my drafting table, word filtered down the chain of command that the Command Information Office photographer was rotating back to the States and there was no replacement in sight. I immediately raised my hand and said, “I’ll do it.” and, due my recent photo competition success, I became an “official” US Army photographer.

And the rest, as they say, is history.

All of that written, I must write that I took to making pictures like a duck to water. Ya know, like, I don’t need no stinkin’ training (my lack of education hasn’t hurt me none cuz I can read see the writing pictures on the wall). It all seemed to just come “naturally.” How else, do you explain the fact that, within a little over 6 months from picking up a camera for the first time, I was making my living, so to write, making pictures? Not to mention how ironic it was to have traveled half way around the world, after growing up in Rochester, NY within sight of KODAK headquarters, to discover the joy photography.

Ain’t life strange.

# 6374-76 / common places • common things ~ things that do work

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RE: The Philosophy of Modern Pictures PROJECT / BOOK: now that the Happy Holiday Daze faze is nearing its end, the PoMP project/book has shifted into high gear inasmuch as it is time to get down to basics, i.e. deciding who my target audience is, so that the writing can commence with that focus in mind….

….without a doubt, the primary target audience is me. That is to write that I am undertaking the PoMP project/book to organize and clarify-all in one place-my picture making thoughts and practices-along with a heaping sample of my pictures-in the hope that it may be of some value to my secondary target audience, i.e.: those picture makers who are wandering around in the photo-making wilderness searching for a way to free their picture making minds from the confines of conventional picture making “wisdom”.

That written, let me make one thing perfectly clear, I am not trying to set myself up as a “guru” / “expert” / “authority” or even a “teacher” about anything. My intent for my writing in the project/book is to create something that is interesting, for some, to read, just as my intent in making pictures is to create something that is interesting, for some, to look at.

There will be no “how to” about any thing in the book. Rather, it is my intent to write about some of the guideposts I bumped into-in many cases on accident, by means of traveling with an open mind-in my journey through the picture making wilderness. Guideposts that just may be of some interest and/or use for fellow travelers.

RE: THE PICTURES IN THIS ENTRY: these pictures-despite their disparate referents-are identical in one respect. If you can not recognize that similarity, consider this from Robert Adams from his book Why People Photograph ~ Teaching:

if teaching photography means bringing students to find their own individual photographic visions, I think it is impossible (ed: fyi, so do I)…the scholar’s task is relatively analytic, whereas the artist’s is synthetic; academics enjoy disassembling things in order to understand how they work, whereas artists enjoy taking scattered pieces and assembling from them things that do work.