# 6023-24 / around the house•landscape (ku) ~ OT

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SOME THINGS ARE HARD TO EXPLAIN. LIKE, SAY, WHO thinks paying $9,295US for a Leica SL2 with 24-70mm f2.8 lens make any sense at all? On the other hand, why do I have 4 bottles of whiskey that together have a retail price of $2,629US?

That written, one of the bourbons, the Van WInkle 12 Year Old, actually has a retail price of $80US. Although, good luck trying to find a bottle at that price cuz, currently, the least expensive bottle I can find is priced at $1,499US. Which, makes it rather amazing that a few years back I acquired 2 bottles for which I paid retail (don’t ask). And, I could have included in the picture my bottle of nearly empty-2 pours left-20 Year Old Van Winkle which has a current price of $4,500. FYI, for which I paid $200US (retail) about 8 years ago cuz I got the bottle as a favor from my US Congressman who got the bottle from a US Congressman from Kentucky.

The other high-priced whiskey in the bunch is the bottle of Bob Dylan’s limited release Bootleg Series II-15 Year Old bourbon finished in Jamaican pot still rum casks. Bottled at cask strength with a proof of 104.6-the white bottle with one of Dylan’s paintings, Sunset, Monument Valley, on it. Current retail, $550-650US. I paid retail but here’s the crazy thing - the Bootleg Series I is sold out but, on the secondary market, it sells for $1,200-1,400US. So, to drink or not to drink? That is the question.

Next in line, descending price wise, is Bob Dylan’s Heaven’s Door 10 Year Old bourbon finished in Redbreast single pot still whiskey casks ( before the casks held Redbreast ‘s single pot Irish whiskey, the casks held Spanish sherry). It’s a limited release bourbon that currently sells for $120-280US.

Last, but not least, is the Takamine 8 Year Old Japanese Whiskey which sells for a modest $100US. The unusual thing about this whiskey is that it does not use the standard mash process-the mixture of grain, water, and yeast that is initially fermented to produce alcohol. Instead, it carefully cultivates koji-Japan’s national mold (used in the making of in sake, soy sauce, and miso)-on barley grain to make amylase enzymes to convert starch into sugar. In layman’s terms, it amplifies fermentation. That written, Takamine is an amazingly good whiskey which can, iMo, hang in there with the big boys.

In any event, the moral of the story is that, with the expenditure of $9,295, you get something that can last a lifetime. On the other hand, $2,629US gets you, if you acquire the whiskey to drink (which I do), the fleeting pleasure of a good drink and a bunch of empty bottles to remind you of that pleasure. Although, an empty bottle of 20 Year Old Van Winkle-with the cork and red velvet pouch-is worth about $300-400US on ebay.

# 5981-83 / the new snapshot ~ here and gone again

my backyard ~ (embiggenable)

heading home from a cider run ~ (embiggenable)

THIS SATURDAY PAST WE HAD A SNOWFALL WHICH COVERED the then snow-free landscape. Later the same day we had a dramatically color-saturated sunset. An event that does not normally follow a snowstorm.

In any event, Spring was here for a week, then it was gone. Now, 3 days later, the snow is mostly gone and Spring is back again. Our cat is very happy.

# 5975-77 / picture windows • landscape (civilized ku) ~ setting a few things straight

on the campus of SUNY Plattsburgh ~ (embiggenable)

I had the green light to make a picture ~ (embiggenable)

why don’t we do it in the road? ~ (embiggenable)

THIS ENTRY FALLS UNDER THE HEADING OF dispelling misconceptions.

item 1 - In light of quite a number of recent entries which featured pictures under the heading of around the house (to include kitchen life / sink), some might assume, incorrectly, that I don’t get out and around much. While I do get out and around quite frequently for a wide variety of reasons, there is something about the cold (and dreariness) of winter that works against my out-of-the-house picture making.

Be that as it may, yesterday I ventured north to see a photography exhibit, North by Nuuk: Greenland after Rockwell Kent, at the Burke Gallery on the campus of SUNY Plattsbugh State College. It was also a meet-the-artist event. The work was sorta decorative art documentary / photo journalistic in style, which is not to write that it was not very high quality. FYI, more on the artist later.

In any event, after a few errands I headed home and along the way my eye and sensibilities were pricked by a couple scenes, so I made a couple pictures. One was made from the driver’s seat of my car, for the other picture I got my lazy ass out of the car. Proof positive that I do, in fact, get out and about.

item 2 - I have been writing, some might think nattering, quite a bit about the notion of fine art. As a result, some might also think that I am thinking very highly of myself and my pictures, or, that I am setting myself up as an oracle or arbitrator on things fine art, photography wise. To be perfectly clear, if anyone is holding those notions, let me write here and now that you are wrong.

Simply put, I am merely offering my opinions on the subject, the intent of which is to stir up some thoughts and opinions on the subject from readers of this blog.

That written, I have some experience, re: my thoughts on the subject of fine art photography. For a period of time I was a contributing writer / critic, re: fine art photography, for the national fine art magazine, The New Art Examiner (long gone). Specifically, they assigned me to review various photography exhibitions (solo exhibitions) around the North East. I enjoyed doing so until it became excruciatingly obvious (to me) that people were taking my opinions way too seriously. As in, what I wrote could seriously effect, pro or con, a photographer’s career.

When I came to that realization, that was the end of that endeavor. I had absolutely no intention or desire to assume the mantle of the maker or the breaker of anyone’s career. After all, it was just my opinion. I was not speaking / writing ex cathedra.

And, FYI, whether of not my pictures are fine art pictures is not for me to judge. I’ll leave that decision up to gallery directors and the like.

# 5959-5964 / around the house • landscape ~ on the subject of subject matter

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I HAVE A THEORY, THAT I BELIEVE IS BORN OUT BY ACTUAL EVIDENCE, that it is nigh unto impossible to make a photograph, one that is considered to be fine art, of a subject that is considered to be one of conventional beauty.

If I had to assemble a body of work (of my pictures) wherein the subjects are considered to be representative of conventional beauty, I would have no trouble doing so. And, I am certain that that body of work would be well received in a camera club presentation and garner plenty of likes on social media sites. I can also write with the same degree of certainty that that body of work, or any picture therein, would never be considered for display in a fine art gallery.

The reason I believe the aforementioned to be true is relatively simple….the Fine Art World believes, iMo rightfully so, that a piece of art-please remember that we are considering photographic prints-in which the Content (meaning) is unambiguously obvious has little capacity for stimulating the intellect. In addition, such a picture incites little curiosity regarding why the picture maker made the photograph cuz, duh, the subject matter makes unambiguously obvious the answer to that question.

Whereas, most fine art art begs the questions, why did the maker create this object (please remember, a photographic print is an physical object in and of itself), and, what is the maker trying to tell me, the viewer?

The answer to those questions (and/or any number of other questions that might arise from the viewing of a photographic print) need not be akin to a PHD dissertation on art theory or the meaning of life. In fact, iMo, the answers are best when they are short and sweet, leaving the viewer to fill in any of the blanks. That’s cuz photography is a visual medium and in many cases too many words spoil the broth.

In any event, all of the above written, whatever the answers, the important thing is that the questions are asked and curiosity is aroused.

# 5920-22 / landscape ~ the observing mind v. the thinking mind

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IN MY LAST ENTRY I USED THE PHRASE, THE challengeof documenting the form. I employed the scare quotes to imply that my use of the word challenge should considered with a high degree of skepticism or doubt. That’s cuz seeing and picturing form is, for me, about as challenging as falling off a log inasmuch as seeing form is how I see.

I could not turn off seeing form even if I wanted to do so. Even though, at times, it seems like a curse, I realize that if I were to turn it off, I would not have had a career as a commercial photographer along with sub-careers in graphic design, art direction and as a creative director. Throw in to the mix my pursuit of fine art picture making and I can write that I would not have known what to do with my life.

In any event, back to picture making, re: the word challenge. I live in a forest preserve / state park to which thousands, if not hundreds of thousands, of landscape / natural world picture makers flock like bees to honey, flies to sh*t, or any other metaphor one might like to use. Add Fall foliage to the landscape and the influx of picture makers takes on the aspect of a Pavlovian stampede. Be that as it may, you can bet your bottom dollar that saturation-slider-to-the-max, rule of thirds and other bogus advice about picture making is the order of the day.*

I mention the following cuz I find myself with a real picture making challenge when I come upon a wide-open landscape. The challenge? It’s as if my form-seeing visual apparatus has, just like Elvis, left the building. I don’t see it and I don’t feel it. It is, to put it mildly, very disconcerting. It is almost as if I am afraid to make a picture for fear that it will…pause for a gasp and shutter…look like a picture made by the stampeding masses.

I would consider counseling to get over my fear except for the fact that, if I get over my fear, I would probably start making pictures that look like, well, I don’t want them to look like. I have given thought to bringing along a flask of bourbon or scotch to drink in order to overcome my inhibitions, but the outcome would probably be no better than the counseling outcome and that would just be a waste of some good bourbon or scotch.

But seriously folks, the root picture making problem for me in such circumstances-to include making a picture of a referent I actually care about-is that, if I don’t see “it“ then I can’t feel “it”, and then I have to think about “it”. And, inasmuch as I have studiously, throughout my entire picture making life, avoided thinking about anything when making a picture, the very thought of thinking would just about end it for me.

In a nutshell, what I am writing about here is the difference between the observing mind-which just watches and is simply aware-and the thinking mind which judges, analyzes, reasons, and attempts to make sense out of things. And, my thinking mind tells me that, in pursuit of working in a visual medium, it makes sense to be an observer rather than a thinker.

*I have no problem with this kind of picture making. It’s just not my thing. If it floats your boat, have at it.

PS I have managed over the years to make some pictures of the landscape which avoid the genre’s typical cliches. So far, it has not killed me.

# 5914-16 / around the house • landscape • places ~ craft vs technique...

all pictures made within the last 24 hours

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1932 Olympic Arena* / Ice Rink ~ (embiggenable)

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…OR IS IT CRAFT + TECHNIQUE?

My first thought is that the idea of craft-a skill of making things by hand-has little to do with the practice of making pictures. Exception - making prints by some archaic print making process. If one were to press the subject one could venture the opinion that one uses one’s hands in the making of prints. But, I would counter that with the fact that the use of hands in making pictures is limited that of pressing buttons or keys on a keyboard.

That written, the use of one’s hands/fingers on buttons or keyboards is guided by the use of one’s brain. In the best of cases, the use of one’s brain is engaged in the pursuit of employing the techniques needed to express one’s vision. Which, might lead one to be considered to be a very good technician (a person skilled in the technique of an art or craft) as opposed to a very good craftsperson, re: in the making of pictures.

In any event, I do not give a damn one way or the other, re: what label-craftsman or technician-is slapped on me and my picture making as long as the label includes the descriptor picture maker.

All of the above written, my hands and/or fingers are guided by my brain during the picture making process-most notably during image file processing-in pursuit of my desire / intent to create a printed pictures which are an accurate representation of whatever was in front of my eyes and my camera. A picture making pursuit most often labeled as straight photography.

That is why, on the last page of my photo books or at the end of an Artist Statement for an exhibit, I always include this disclaimer:

No filters or special effects were employed in the making of these pictures. All pictures were made with a (device name here). The resulting image files were processed in an image processing software for minor color balance, contrast, brightness, highlight and shadow adjustments / corrections. All adjustments / corrections were performed in order to insure that the finished prints are an accurate representation-as much as the tools of the medium allow-of that which was in front of my eyes and camera.

*the ‘32 ice rink is just down the hall from the ‘80 Olympic Arena, aka: the MIracle On Ice Arena.

# 5906-08 / around the house • kitchen sink • landscape ~ as easy as waking up and falling out of bed

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CREATIVITY and IMAGINATION ARE 2 WORDS /CONCEPTS WHICH ARE bandied about in discussions of the making of pictures. They are often used interchangeably, as in “use your imagination more” and/or “try to be more creative”. Hell, I can not count the times I have heard, re: my pictures, “your choice of subject matter is very creative” or “I would never have imagined that as a subject for picture making”.

Not that I don’t appreciate the comments-cuz I do-but those comments leave me ever so slightly perplexed cuz I do not associate the idea of creativity or imagination with the act of my picture making. Written sImply, when I make a picture I am just picturing what I see and do so in the manner in which I see. Saying that I am being creative or using my imagination while making pictures is like saying that I am being creative and using my imagination when I put put one foot in front of the other while walking down the street.

As a result of how I make pictures, specifically pictures that are intended to be art, I believe that there are 3 very suspicious / questionable bits of picture making-in the pursuit of finding your vision-advice: 1.) find a subject / referent you are very interested in / passionate about and make lots of pictures thereof, and, 2.) be as creative / imaginative as you can be, and, 3.) don’t be afraid to break the rules.

Re: questionable advice #1: following this dictate the chances are very good that, unless you are passionate about a very obscure and/or little known object of affection, you’ll be making pictures of a subject a lot other picture makers are picturing. Re: #2: creativity and imagination pursued for their own sake will head you straight down the road of cliche picture making. Re: #3: forget breaking the rules and concentrate on making your own rules.

iMo, the only advice worth a damn-employed in finding your own unique artistic vision-is to make lots and lots of pictures of any thing and every thing (no thinking allowed) that catches your eye and and pricks your sensibilities, using a single camera, one lens (or 2, a semi-wide and semi tele). Make small (cheap) prints and look at them. Following this activity for, say, 1/2 a year, I would be surprised if ,when you lay out the pictures, you don’t find some that; 1) capture the look and feel of what you saw, and, 2) stick together as a unified body of pictures.

The purpose of this activity is to discover and, hopefully, begin to understand how you actually see the world. That is, not in a “creative” or “imaginative” sense, but, rather, how you literally see the world using your visual apparatus / senses, just like you do when you open your eyes in the morning.

# 5883 / life without the APA ~ That wouldn't make you a shallow person would it?

from Life Without the APA body of work ~ (embiggenable) 8x10 view camera + µ4/3

LET ME BEGIN THIS ENTRY WITH A VERSE FROM LYLE LOVETT’S Here I Am song (it will make sense later):

Given that true intellectual and emotional compatibility
Are at the very least difficult
If not impossible to come by
We could always opt for the more temporal gratification
Of sheer physical attraction
That wouldn't make you a shallow person
Would it?

Add to that a link to a Stephen Shore picture, Holden Street, North Adams, Massachusetts. FYI, the street image in my picture in this entry was created long before I was aware of Shore’s picture. Nor was the composite image made with a single thought of imitating Shore’s picture.

OK then, now I can move onto the point of this entry…

I was skimming through a book of Stephen Shore pictures, interviews and commentary when I came across a commentary, re: the aforementioned linked picture, by Joel Sternfeld. The commentary, which ran to 7 pages in length, started as follows:

Stephen Shore’s photograph of a summer morning setting on Holden Street in North Adams, Massachusetts, appears to be a picture replete with dualities, the most obvious being that of town and countryside. The brick commercial buildings bookend a panel of green hills and blue sky as if the entirety were a early Christian altarpiece. The most sacred panel, the center one, contains an image of a deity , which in the secular case turns out to be a wooden building of pure white. The building stands in front of a mountain, a standard symbol of spiritual elevation.

After this “Christian altarpiece, sacred panel, deity, standard symbol of spiritual elevation” Art Major-ish search for meaning, aka: interpretation, Sternfeld-whose pictures I admire-goes on 7 page literary, cultural, architectural, historic, photo theory laden exposition / academic treatise that, iMo and for me, adds little, if anything, to the pure visual senses enjoyment of just looking at the picture. Which is not to write that, for Sternfeld, it does not matter inasmuch as all his interpretation stuff goes to the cause of justifying his appreciation of the picture cuz, without it, it’s just a picture.

Nor am I suggesting that my Life without the APA picture(s)-and pictures like it made by others-do not contain dualities, symbols, cultural / literary references, et al if it is a viewer’s propensity to “see” such things. However, my intent in the making of those pictures was simply to illustrate how the Adirondack forest preserve might look like-and consequently, feel like-without the protection / oversight of the APA. And, in doing so, create pictures which tell that story without requiring that the viewer have a Phd in Art History or Art Theory to “get it”.

In any event, back to Lyle Lovett and the relevance of his lyrics to this entry.

It seems to me that Joel Sternfeld (and others like him who are given to the nearly compulsive desire to discern meaning and interpretation in pictures) needs to find a feeling of “true intellectual and emotional compatibility” with a photograph-a feeling which is “at the very least difficult If not impossible to come by” (for mere mortals)-in order that he not succumb to the temptation of “the more temporal gratification of sheer physical attraction” to a picture and thus descend into the realm of becoming “a shallow person”.