# 6200-02 / common places • common things ~ stupid is as stupid does

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ELSEWHERE ON THE INTERWEB, IT HAS BE POSTULATED, AS AN answer to the question of “…why we don't talk more about the "art" of photography here on the blog instead of going over lots of gear and technical work…”, that:

“…a viewer using a phone or small iPad to view will see none of the technical "features" that might make the image worth looking at.”

“…when we do try to talk about the work we end up with so many different avenues for viewing, each of which is a diminished and poor replica of the original, that it's impossible to make many meaningful assessments.

At first blush, I would tend to suggest, first and foremost, that the author of the blog in question does not talk about the art of photography cuz that author has a very dim understanding of what it is that constitutes photography as Art. Consequently, the author would be best served by sticking to what he knows, aka: gear. My opinion is offered in light of the fact-one of many-of the author’s suggestion that “technical features” might make an image worth looking at (don’t know whether to laugh or cry at that cringe-worthy idiocy) - a statement in full-blown support of why Bruce Davidson is “not interested in showing my work to photographers anymore…

Re: with so many different avenues for viewing… it's impossible to make many meaningful assessments.” when trying to writing about on a blog. BS. While the author’s point, re: the diminished image quality-for any number of reasons-of images on the interweb, is true enough, unless a device’s viewing parameters are highly compromised, I believe that there is more than enough visual information in most cases to make a reasonable assessment of a picture’s aesthetic / ”artistic” worth. Enough, so that, you know, you can determine whether or not a picture is “worth looking at”.

I would even go far as to suggest that, under ideal screen viewing conditions-there is a long list of items under the concept of “ideal”-one could even undertake a critical, informed review of a picture.

Is viewing an image on the interweb-under ideal conditions-the same as viewing that image as a print? Short answer, “No.” Slightly longer answer, a qualified “Yes.” inasmuch as most of the visual qualities which distinguish a photograph as Art, especially the idea of form, are easily perceivable on even a less than ideal viewing screen. And, an on-screen viewing of a good photograph can stir virtually all of the feeling, emotion, and thought that a print of the same image can incite.

iMo and experience, I can write that, in the Fine Art World, Photography Division, there are very few who are interested in the technical features of a photograph. That’s cuz they know and have viewed countless number of photographs which display very little in the way of technical features but which, nevertheless, are some of the greatest photographs ever made.

# 6199 / kitchen life • common things ~ arriving at a fork in the road

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IT IS A RARE DAY WHEN, ON THE INTERWEB, ONE COMES across an ultra-addicted gearhead having a come-to-jesus picture making moment wherein he/she realizes that he/she has “… really tried hard to substitute hardware for talent. Over and over again.” Add to that a fair amount of other self-flagellation, and it qualifies as something akin to a red-letter day.

That written, I can write that it took a decent amount of fortitude for her/him to confront the fact that, after all of that gear infatuation / acquisition, his/her “images [were] maybe a bit sharper but by no means any better in terms of insight, impact or overall splendor.” And the time, effort (and cash) spent on all that gear preoccupation could have been better spent “finding a great model, a great location.”

All of that written, even if the aforementioned penitent manages to follow the straight (pun) and narrow path of the joy of photography, aka: making pictures, not acquiring gear, he/she still is going to have a long slog getting to the point, if ever, of making pictures that exhibit “insight, impact or overall splendor”. That’s cuz spending time finding a “great”model, a “great” location or overall “splendor” does not a great picture make ( nor, I might add, does getting “bored sticking with one focal length”). A referent-centric pursuit may lead to the making of pictures with splendid decorative value-which may be the sine non qua of that which he/she wants to achieve-but it will not lead to making pictures of insight, impact or overall splendor.

If I were one to leave a comment on the blog of the remorseful, maybe born again picture maker, it would be something like this - Get over it. A camera is, in a very real sense, little more than a recording device for what the human eye sees. (with an emphasis on how the human eye sees). If the human in question does not take the time to learn, understand, and embrace how he/she sees the world, the idea of acquiring a personal picture making vision is a lost cause and all the gear in the world ain’t gonna save your picture making ass.

# 6198 / kitchen life • common things ~ for every pot there is a lid

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"Nothing exceeds like excess”~as someone said

No one ever went broke underestimating the taste of the American public” ~ H. L. Mencken

ON MY LAST ENTRY, MARKUS SPRING-a long time follower-WROTE; “…accepting the overcooked look as what memory and feelings conjure up to "it looked exactly like this…" He also expressed an idea on why this is so in response to which I present the above quotes.

I am aware of a picture maker who creates nothing but over-HDRed, ultra-excessive color saturated pictures (his idea of fine art), apparently with great commercial success. His very large prints adorn hospital, corporate, public place, and wealthy residential walls (they ain’t cheap). iMo, the pictures are nothing more than wretched ornamental dreck. His website has 100s of followers whose eyes glaze over and mouths salivate-as judged by their adoring comments-with each of his offerings.

It would be easy to write that this quest-as represented by the aforementioned picture making excess-for wretched excess can be found in so many things American-houses, cars, movies, advertising, et al-and label it as an American obsession. However, I believe it can be found in abundance in most, if not all, first-world countries / cultures. It is also my belief that this quest for excess is nothing new. The grand cathedrals of Europe come to mind as an example. There is also the ceiling of the Sistine Chapel to consider.

In any event, I gave up a long time ago thinking that those involved in the quest for excess, at least in the arts, are brain-dead cretins. That’s cuz I came to realize that, that which can be labeled as Decorative Art, does, indeed, serve a purpose. It might even be called a valuable purpose. That is to write, Decorative Art is a vehicle which can assist in gaining an escape, albeit temporary, from the humdrum boredom of everyday life.

And, by one means or another, who is there who does not need an “escape” every now and again?

# 6195-97 / kichen life • common places ~ what you see ain't always what you get

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AS MENTIONED BEFORE, THE iPHONE CAMERA MODULE IS not perfect. While it does, in fact, produce files that require only minor adjustments-primarily bright sunny day pictures. Where it “fails” to get it almost right are those picture making situations that have; a. low contrast, and, b. night / very low light scenes. In those situations the computational bits seem to be programed to deliver a full-range (nearly pure black > nearly pure white) file. That is, a file that does not match what the eye sees in situ.

In some cases, a simple adjustment with a BRIGHTNESS slider gets you very close to where you want to go. In other cases, a more nuanced use of the CURVES tool is called for. In either case, the fact that you are working with a fairly rich file-no, not RAW rich but way more than adequate-gives one lots of room with which to work. Neither fix requires an advance degree in Rocket Science or software engineering.

FYI, I am going to try a few experiments with making pictures with the Scene Detection and Smart HDR disabled to determine the difference, if any (I assume there will be), that those setting create.

PS all of my file processing is performed with the intent of accurately reproducing, as much the medium and my memory allow, what my eyes perceived, in situ, at the moment of making a picture.

# 6185-90 / the new snapshot • commonplaces ~ my precious stand-in

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“…it rarely occurs to such a photographer to take a picture of something, say a Venetian fountain, without a loved one standing directly in front of it and smiling into the lens.” ~ Jean Shepherd

OVER THE YEARS, THE WIFE HAS PLAYED, DURING OUR TRAVELS, HER ROLE in my pictures, ala Jean Shepherd’s “loved one standing directly in front of it and smiling into the lens.”, with the patience of a saint. And, this weekend past was no different.

Our travel this weekend past, a 260 mile (total) out-and-back run to the central Adirondacks in order to purchase a dozen of the planet’s best cinnamon sugar donuts, started with our first ever gas up at our hamlet’s rebuilt-from-scratch convenience store / gas station. After securing the donuts, we stopped for an early afternoon breakfast in the hamlet of Blue Mountain Lake where we dined in a recently restored 1946 era diner that was moved-after its restoration-from Maryland to the Adirondacks.

I have been making travel pictures with the wife as a stand-in for quite some time. I began making them as a somewhat casual, satirical take on the classic tourist picture as described by Jean Shepherd. I continue to do so with the same intent but, as my collection of these pictures grow, I am now approaching the making of such pictures as a “serious” endeavor with the idea of creating a “serious”, albeit somewhat tongue-in-cheeky, body of work.

My only regret about this undertaking is that it was not until quite recently that I started to this picture making seriously. Consequently, I am kicking myself in the butt-not easy to do at my age-for all of the stand-in picture making opportunities I have passed up over the years.

# 6178-84 / kitchen sink ~ let function and meaning float free

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Bernd and Hilla Becher were sometimes more interested in aesthetic form than in what industry actually does…its goal was art, which means it was always bound to let function and meaning float free.”~ from the NY Times article

THERE IS AN ARTICLE IN TODAY’S NY TIMES, re: an exhibit, Bernd & Hilla Becher, at the Metropolitan Museum of Art in NYC. The article is a good read, especially so as it does not jam the reader up with a load of art-speak.

That written, what really grabbed my attention was the manner in which the photographs were presented (in the article). That is, primarily grouped by subject matter-blast furnaces, water towers, and frame houses. This pricked my eye and sensibilities inasmuch as, up until this point, I have been rather lukewarm in my assessment of the Becher’s work. A situation which I now attribute to the fact that I have never viewed their work presented as coherent bodies of work. Seeing the Becher’s work presented as bodies of work has changed my assessment of their work. So much so that I will be, in the near future, boarding a train to NYC to see the exhibit.

The fact that seeing a coherent body of the Becher’s work so opened my eyes to their work comes as no surprise in that I have always understood that a good body of work can be a collective staggering visual force which illustrates and elucidates an artist’s vision. Such is the case with the Becher’s work. I can now attest that I have much greater understanding about what the Becher’s were up to with their picture making.

Re: the quote from the article - “Bernd and Hilla Becher were sometimes more interested in aesthetic form than in what industry actually does…” In regarding my kitchen sink pictures, I hope it is obvious that I am more interested in the aesthetic form to be found in the “life” that goes on in the sink than I am in the actual depicted referents to be seen in the photographs.

#6171-74 / common places • common things ~ soft eyes

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MY FEELINGS, RE: STICKING YOUR NOSE WHERE IT DOES NOT BELONG when viewing a photographic print, are well know. ASIDE For those who might not know it, in my fantasy world, all of my photo exhibitions would have crowd-control barriers-stanchion + velvet rope-along the walls where my prints are displayed. The distance of the velvet rope barrier from the wall would be determined by the size of the prints. And, of course, anyone leaning over the rope would receive an invisible ray electric shock. END OF ASIDE

That written, some might wonder why I hold such a strict viewing standard. The answer to that wondering is quite simple, having to do with, iMo, the very important idea-for both picture viewing and picture making-of soft eyes.

ANOTHER ASIDE Soft eyes, for those unfamiliar with the term, refers to the art of seeing with the simultaneous, effortless combination of foveal vision-laser like focus on specific detail (a “hard” stare)-and peripheral vision-the taking in of the widest possible span and trying to catch all that is on the edges of this span (eye muscles stay relaxed) FYI, it is believed that peripheral vision is an acquired muscle-memory skill*. END OF ASIDE

So, why do I believe that soft eyes are a very important skill in the making and viewing of photographic prints? Consider this: the making of a photograph is considered to be the “art” of selecting. That is, noticing a piece of the world and isolating it via the imposition of a frame, aka: the edges of a photograph. The astute picture maker makes a decision of what include / exclude in the picture by means of that framing. And, it is the result of this decision which is creates the form-some might call it the design or composition-as perceived in the final print.

It should be needless to write, that the aware picture maker will include in his/her framing only those visual elements-actual things, shapes, lines, tones, colors, et al-that he/she believes (sometimes senses) are important to expressing what what and how they see, aka: their vision. In other words, every visual element within the frame of a picture is an integral component of the total visual statement. You can not have one without the other(s).

iMo, the only manner in which a picture maker can pull off this visual”miracle” (making something out of nothing), is with the art of seeing the world with soft eyes. And, if a viewer of such pictures desires to experience the totality of a picture makers’ vision then he/she must view a print in its totality with the use of soft eyes. And the only way that is possible is to view a print from a distance from which the eye can take in the whole image. Essentially, that means placing your foveal vision on the center of the image and letting your peripheral vision take in the rest.

And, I can write without a single, solitary shred of a doubt, that a viewer can not see the totality of a photograph with his/her nose where it don’t belong.

* when BIll Bradley, one of basketball’s all-time greats, was a young boy he walked down the main street of of his hometown and kept his eyes focused straight ahead and tried to identify objects in the windows of stores he was passing.

# 6166-70 / people . Common places ~ on the road agAin

FYI, EVEN THOUGH I HAVE MY LAPTOP WITH ME, I am creating this entry on my iPad using the Squarespace app. Trying to see if I can go all mobile device and be happy with the results. Even the images files were processed on the iPad (Snapseed).

Best as I can tell, the contrarian in me is instigating me to do this “experiment” just so I am able to demonstrate to the commontaria ignoramicus that it is possible-in fact, if you know what you are doing, deceptively easy-to make good photographs with the simple-ist of gear and processing tools.

Of course, the preceding statement is dependent upon one’s understanding of what constitutes a good photograph. An understanding of “good” which most of the ignoramicus class confuse with things like max DR, max resolution, max color depth, max sensor size, the best glass, et al, as opposed to the tool that produces the best picture making results - the tool that, as Sir Ansel opined, is 12 inches behind the camera. I.E., the brain (+soul/heart) in which resides a picture maker’s vision.

To be certain, I would never suggest that anyone should chuck all the fancy stuff out the car at at 100 mph. However, I might suggest to someone just starting down the picture making trail that, as a variation on the OCOY practice, he/she use a mobile phone based “camera” and a simple mobile device based processing app as their tools for a year cuz…

…if one can not make a good picture with those simple tools, all the of “best” gear and processing tools will not get ya there.