# 5779 / (in and) around the house ~ I am a formalist, always have been

(embiggenable) • iPhone

IN THE CHAPTER, Color Photographic Formalism, FROM HER BOOK the new color photography, Sally Eauclaire pretty much nailed my picture making M.O.:

...the most resourceful photographic formalists regard the complexion of the given environment as potentially articulate aesthetic material. They consider the subject and its visual essence as indivisible….these formalists perceive real objects and intervening spaces as inter-animating segments of a total visual presentation....Each photograph represents a delicately adjusted equilibrium in which a section of the world is coopted for its visual possibilities, yet delineated with the utmost specificity. The resulting image exists simultaneously as a continuous visual plane on which every space and object are interlocking pieces of a carefully constructed jigsaw puzzle and a window through which the viewer can discern navigable space and and recognizable subject matter...The most sophisticated practitioners do not work with glib formulas, but combine various tactics in response to the particular demands of each image-making situation. Most formalists now embrace complicated arrangements wherein balance is more intuitively attained and strategy less obviously revealed.

In the same chapter, Eauclaire also wrote about the then-c.1980-issue evident / prevalent as expressed by viewers and critics of what she labeled as the new color photography:

Those receptive to the subtle, sequenced impact of a multilayered image are far outnumbered by the audience who believes a good photograph must be instantly accessible. When the subject seems missing altogether, the photographer may be accused of pulling the wool over the eyes of critics, curators, and the public.

All of the above written, I present these excerpts as part of my research for background, re: a potential book-Top insert # here Worst Sayings / Pieces of Photographic Advice., aka: "glib formulas". Thing is, if I am to do a book, it will be my intent to try to not only disabuse readers of the need for "rules" but also to give them, when they are standing naked and alone (rules wise), some ideas about picture making based solely upon the "strategy" of just seeing.

# 5914-16 / the new snapshot•kitchen sink/life ~ I've learned my lesson well

from quotidian (kitchen life) ~ (embiggenable) • iPhone

from kitchen sink ~ (embiggenable) • iPhone

BACK HOME AFTER MY WEEK IN MAINE. Barely settled back in and I'm packing for my week-starting this Sunday-at the South Jersey Shore. The 2 places on the Atlantic Ocean could not be more different - the Maine shore is rocky and cool, the Jersey shore is sandy and hot / humid (and my burden to bear). Then, at the end of the Jersey week, it's straight to Rist Camp for 6 weeks-with a stop at home to pick up the cat. The end of the Rist Camp sojourn will complete the San Diego, CA. / Santa Fe, NM / Pittsburgh, PA / Damariscotte, MN / Stone Harbor, NJ / Newcomb, NY ramble.

I am hoping that my stay at Rist Camp-on an isolated, hill-top overlooking the mountains and a lake-will provide me with some much needed quiet / restful time for contemplation, re: my relationship with photography / picture making. Specically, addressing both my relationship with this blog and the notion of aggressively seeking gallery representation for one or more of my bodies of work.

In the cause of seeking gallery representation, I am purchasing a new printer for use in creating folios of exhibition quality prints of several of my bodies of work. First up being my kitchen sink and quotidian work, starting with updates to those galleries on my WORK page. FYI, I am first concentrating on those bodies of work cuz I believe them to be my strongest and most cohesive bodies of work and bodies of work for which I can pursue the making of pictures on a regular basis.

Re: this blog - it will most likely sputter along as it has been during the recent past. That is, without a specific intent or direction. However, my desire is to keep the focus on the medium and it apparatus (aka: practices and conventions) as opposed to gear obsession-ala VSL-or a journal of the trials and tribulations of my personal life-ala TOP-cuz, (paraphrasing Ricky Nelson) if that were all there was to write, I rather drive a truck..

PS After my recent selection for Mike Johnston's Baker's Dozen: In the Museum, I am prepping a few picture candidates for a possible submission to Baker's Dozen: Grandkids:

from the new snapshot ~ (embiggenable) • iPhone

# 5884-87 / around the house•kitchen sink ~ symmetry

summer time and living is easy ~ (embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

THERE ARE TIMES WHEN I CAN SIT IN FRONT OF my desktop monitor and stare for quite a significant length of time. That tends to happen when the monitor screen looks as it does today-as seen in the picture below.

Part of the reason of why I stare at the screen is cuz, after a short period-a few days-during which I have made a significant number of pictures-I am contemplating which picture (or pictures) to use in a blog entry. That written, I have come to realize that I am also using the monitor screen as a contact sheet of sorts. That is, as I stare at the screen a picture-or a part of a picture-will catch my attention. I click on it, enlarge it and then stare at it. If it hits me in the eye like a big pizza pie, I make a mental note of it and send it back into the pack.

While this exercise helps me pick pictures for blog use, it also has an interesting (to me) side effect. When purusing my "big" contact sheet-my library (currently 12,861 pictures) of finished pictures-it is remarkable how many of the pictures I have made mental notes of emerge from the pack once again.

There is, quite obviously, no science involved in this exercise. However, what it does indicate to me is that, inasmuch as my picture making is driven by a visceral reaction to what I see, when I am looking at my "contact" sheet-either a jumbled collection on my monitor or in my library-I respond to pictures which cause me to have a visceral reaction to what I see in the finished picture. In both cases-the making of pictures and the viewing thereof-since there is little or no thinking involved,it seems to be a fine example of the adage, "Stupid is as stupid does."

a section of what’s on my monitor screen ~ (embiggenable) • iPhone

# 5882-83 / civilized ku ~ a square squared

(embiggenable) • iPhone + Argoflex Seventy five

(embiggenable) • iPhone

YESTERDAY, AS I EMBARKED UPON THE FIRST DAY OF MY 75TH YEAR ON THE PLANET, I was thinking back to the time when I thought I would create a series of pictures made of the view looking through the viewfinder of TLR. For one reason or another that never happened.

In any event, I still have the TLR I acquired for the proposed series so I got it out and made a picture of the view looking through the viewfinder. I think of the result as a view of the view through a viewfinder.

That written, this little exercise has not re-ignited a desire to make a series of such pictures. However, it has given rise to the idea of making some pictures-it uses still-available 620 film) with the ARGFLEX Seventy five TLR camera. Maybe that will happen. Maybe it won't.

My ambivalence on the subject comes from the fact that I have never fully embraced the activity of making pictures with a "toy" camera. That's inspite of the fact that I really like the look of such pictures. While the ARGOFLEX is not a true toy camera-or a crappy camera as they are affectionately called-(think Holga, Lomo and the like), it has all of the limitations of one; a single, undefined shutter speed (+ bulb setting), a single undefined aperature, no focusing capability, and lens quality that is as good as anyone's guess.

One might consider those "qualities" as a hindrance to good picture making. Nevertheless, for true crappy camera afficionados those are the features that contribute to the making of a good crappy camera picture.

# 5879-81 / civilized ku•kitchen sink•around the house ~ inside and out / a sense of discovery

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

I AM NATURALLY WARY / SKEPTICAL OF HYPERBOLE AND EXAGERATION, re: overstated claims and/or declaration. So, when I came across an NY Times article titled, Who Needs The Grand Canyon? with the subhead, How to find a sense of awe and discover a miraculous world right outside your door, my hyperbole warning buzzer started to sing.

That written, you can imagine my surprise when, after a few moments of thought, I realized that the title and subhead could easily be the title and subhead for most of my work. 'Cept I would have to inset the words "and inside" before "your door".

The article in question was basically a plug for getting to know your neighborhood. That is, from your home, a short walk or a short drive+a walk at your destination-what the Times calls a microadventure-might just open one up to an undiscovered / experienced sense of "awe". Or, at the very least, a pleasant surprise. Coincidentally, that advice pretty well sums up how I make, location wise, most of my pictures...this entry's pictures, a case in point.

Re: concept / intention wise, I could write that, when I am out-and-about or alternatively, in-and-about, my visual apparatus is atuned to challenge of seeing the "awesome" / "miraculous" in the guotidian world around me. ASIDE> However, I feel that those two words / discriptors are a bit of an overreach. END OF ASIDE Rarely, do I seek out the grand and glorious cuz, if you can not make a grand and glorious picture of the actual (conventional) so called grand and glorious, you might try mastering the art of simultaneously walking and chewing gum.

PS I am taking to the vertical rectangle aspect ratio like the proverbial duck to water. That written, I have not abandoned the square.

(embiggenable) • iPhone

# 5872-74 / around the house ~ I get horizontal

(embiggenable) • iPhone

(embiggenable) • iPhone

the cat don’t care who wins the cup ~ (embiggenable) • iPhone

ORIENTING MY IPHONE TO THE HORIZONTAL INCLINATION was not all that difficult to accomplish. In fact it made activating the shutter easier inasmuch as one of the volume buttons-which can be used as a shutter release-falls conveniently to my index finger (mimicing my "real" camera).

Now the question arises, inasmuch as the square format has been an integal part of my picture making identity, does making rectangular pictures compromise that identity?

I have no doubt about my ability to "arrange" the visual elements-line, shape, form, tone, color, space, et all-within an imposed rectangular frame in a pleasing manner. So that part of the change in format does not concern me. It the signature identity thing that makes me wonder about the change.

Maybe I just have to think about it as a new body of work cuz I do not believe that it will change the way I see. And, of course, it is not as if I am going to abandon the square format.

# 5869-71 / around the house ~ this way and that way

(embiggenable) • iPhone

(embiggenable) • iPhone

(embiggenable) • iPhone

BEING A CREATURE OF HABIT, I ALMOST ALWAYS HOLD my iPhone in a vertical orientation when making pictures. That's cuz, since I primarily make square pictures, it doesn't matter which orientation I use. So, I use the orientation that I normally use when holding / viewing my iPhone.

Now that I am frequently playing with the Portrait setting for it narrow-er DOF quality, + the fact that there is no square setting-although I can crop to square in processing-in the Portrait Mode, + the fact of my use of (habitual) vertical iPhone orientation, all of the recent full frame pictures I have made are in the vertical format. This relationship of habitual practices and their result just dawned on me. Duh and more duh.

Time to break old habits and hold my iPhone in a horizontal orientation.