# 5888--89 / around the house ~ to drink or not to drink?

you only live once ~ (embiggenable) • iPhone

MERRY HOLIDAYS, EVEN THOUGH I AM A DAY LATE and a dollar short (as the saying goes).

Actually, due to a mis-communication between the wife and myself, I am more than a dollar short on account of the fact that I spent $540.00USD on a very limited, recently released bottle of Bob Dylan’s Bootleg (Vol II) bourbon. FYI, the bottle is adorned with Dylan’s Sunset, Monument Valley painting. The leather case is individually numbered.

However, one question remains, drink it or save it as an investment? Last year’s Bootleg (Vol I ) limited release is sold out. Currently it sells for $1,000.00USD on the secondary market. And, the price will only go up.

# 5884-86 / around the house • kitchen life • people ~ feeling it

I’ve been taking my temperature more often lately ~ (embiggenable) • iPhone

the light switches are in the off position ~ (embiggenable) • iPhone

carpet protects the porch floor from heel marks ~ (embiggenable) • iPhone

ON MY LAST ENTRY, A COMMENT WAS LEFT BY STEPHEN McATEER:

Some people I used to read on the internet seemed to think that a photograph had to have 'Meaning' to be any good….My own view is that it is a good photograph if it pleases the eye. Meaning does not interest me in the least.

To clarify my thoughts on meaning to be seen / found in a photograph, I believe every photograph ever made has some meaning or another, even if only to the individual who made it. However, that written, once the photograph is offered for viewing to those other than the maker, what the photograph means (if anything) is anyone’s guess.

Truth be written, I spent a lot of time, used a lot of internet space, and typed a zillion words over the years (on this blog and my previous blog) speculating / festering, one might even say “obsessing” about meaning in photographs. ASIDE: Stephen might even have been taking a shot at me, re: “used to read on the internet” wise. END OF ASIDE That endeavor was due primarily to my concern, re: did my pictures have any meaning? That concern was based up my very loose acceptance of the idea that “a photograph had to have 'Meaning' to be any good”.

After intense and protracted looking for meaning in my pictures, I discovered that, shockingly, there was none to be seen / found. However, what I did find was that all of my “good” pictures shared a common characteristic - that is, they all incited feelings and sensations instigated by their visual-senses activation. There was nothing to" “interpret”, nothing to “understand”. Their “goodness” was predicated upon how a picture looked and how that “look” pricked my eye and sensibilities.

If how a picture looks is the basis for a viewer to look for meaning in a picture-literary, cultural, art theory, historic connections, et al-so be it. I am not suggesting that there is nothing of the sort to be seen /found in my pictures. However, in the making of my pictures I am not trying to instill / insert any meaning. My intent is to make visible the experiences I see / feel as I traverse the planet-with my eyes wide open-in a manner that pricks my eye and sensibilities and of those who view my pictures.

That written, and despite the fact that the visual referent(s) depicted in most of my pictures is not what the pictures are about, some of those pictures can, and do, hold special meaning for me.

So, when all is written / said and done, I do not see meaning v. pleasing to the eye as mutually exclusive ideas. My only problem with meaning in photography is with those who elevate meaning, aka: content, over form. Or, when doing so, eviscerate a picture by dissecting / breaking it down into pieces.

FYI, you may noticed the non sequitur-like captions with the pictures in this entry. I am playing with the idea of mis-direction, re: providing a caption to a picture which causes a viewer to try to figure out what a picture is really about cuz it can not possibly be about what the caption seems to imply that it is about.

# 5873-75 / around the house • kitchen life ~ picturing experience

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JOHN SZARKOWSKI WROTE (c.1976):

…it is true, as I believe it is, that today’s most radical and suggestive color photography derives most of its vigor from commonplace models…[I]n the past decade a number of photographers have begun to work in color in a more confident, more natural, and yet more ambitious spirit, working not as though color were a separate issue, a problem to be solved in isolation (not thinking of color as photographers seventy years ago thought of composition), but rather as though the world itself existed in color, as though the blue and the sky were one thing….[they] accept color as existential and descriptive; the pictures are not photographs of color, any more than they are photographs of shapes, texture, objects, symbols, or events, but rather photographs of experience, as it has been ordered and clarified within the structures imposed by the camera.

And, speaking of experience, here’s what Joel Meyerowitz had to say:

I don’t want to talk about one aspect of these pictures over the rest. The fact is, I’m trying to photograph the wholeness of my experience. I’m trying to pass that experience back into the world…[T]hat’s what it’s about-the location of the subject, it’s about the passage of the experience itself, the wholeness, though you back into the world, selected by your native instincts. That’s what artists do. They separate their experience from the totality, from raw experience, and it’s the quality of their selections that makes them visible to the world.

Add to the idea, re: Szarkowski’s and Meyerowitz’s photographing experience, Meyerowitz’s sensation of “feeling”…:

I see things-this is my life-I look; I make visual images…[I]t’s what I’ve done since I was a kid. I feel things…[I] love sensations. But ,within the limited range of sensations that I am responsive to, certain optical things excite me...[I]f I am in a good place, where there’s lots of visual activity, I become supersensitive. I receive many signals and I pick and choose among them.

…and I have started to think that I need to reassess the idea of so-called “vision “ as it is most commonly bantered about / understood in the “serious” amateur picture making world.

# 5863-67 / landscape (civilized ku • ku) • around the house ~ working different

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I SORTA GOT SIDETRACKED BY THE IS-SQUARE-GOOD-FOR-LANDSCAPES thing along with a dose of BW infatuation. Using the work of Robert Adams as markers / aim points for both ideas, as well as rummaging around in my picture library for pictures which were suitable for RA-like (signs of man in the landscape) conversion to BW, I am well satisfied that, for my picturing, square and BW digital BW conversion processing is good. I might even state that it is very good.

Re: digital conversion / processing for color > BW. From time to time I come across, most recently on T.O.P., the idea that digital is not BW picturing friendly. That the only way to achieve the best BW pictures is via the analog, aka: film, picture making process. I disagree….

…That written, I am not here to debate one process against the other. Rather, the position I take is that digital BW images can be created which compare-that is, if comparing is your thing-very favorably with film created BW images. Me, I’m not into “comparing”. Nor am I a life-long devotee of BW picture making.

Sure, sure. Back in the analog days, I had my very own soup-to-nuts “formula” for making BW pictures - preferred film, developer, developing times / agitation, (my own “personal” zone system) + my preferred printing system - condenser enlarger, specific developer, specific graded paper. My formula produced BW prints that I liked very much. Not to mention, I truly enjoyed my private time in the darkrooms (1 for film processing, 1 for printing).

At the same time there were those who took the I idea of creating a personal BW picturing, processing, printing formula to an extreme. Example: I have overheard many a photo club conversation hotly debating the type of bulb to be used in an enlarger head. They loved to tinker with the process to the point where, in some cases, it was the reason they were involved with photography.

In any event, I’ll leave you with a hint-I have mentioned this previously-for making really good BW digital image files. The process is simplicity itself - open an RGB color image file. Convert to LAB Color Space, Discard the a and b channels, leaving only the Lightness channel. Convert to Grayscale. At this point you now have an image file that contains only the lightness values-independent of any color values-extracted from your original color file-THIS NOT THE SAME THING AS DE-SATURATING THE COLORS IN A COLOR FILE-not even close.

Once I have the Grayscale file, I will usually make small tonal adjustments in Photoshop to bring the tonal values in line with the feel of the original color file, therefore in line with the actual scene.

RGB original / LAB conversion Grayscale ~ (embiggenable) • iPhone

# 5835-37 / landscape (ku) • around the house ~ making invisible pictures

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RECEIVED MY POD BOOK FROM SHUTTERFLY. As is always the case inamuch as I always spec their 6 color printing option, the print quality is excellent. Shutterfly is highly recommended.

Writing of books, I have approximately 50 photo books of pictures made by other picture makers-monographs, exhibition catalogs, and the like. iMo, photo books are the second best manner for the viewing of photographs, second only to prints on a gallery wall. On the same level as photo books, but rarely encountered is a portfolio of original prints.

What all of these viewing experiences have in common is that each manner of presentation / viewing: a) places an actual thing in front of the viewer, b) encourages the viewer to focus all of their attention on the thing in front of them, and, c) in most viewing cases, the viewing environment is generally conducive to quiet contemplation.

Considering the above, I am forever at a loss for words with the idea of, why does anyone make images but fails to print them in some fashion?

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# 5807-09 / civilized ku • kitchen life ~ I am what I am and that's all that I am - Popeye the Sailor Man

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IT IS WHAT IT IS AND THAT IS ALL THAT IT IS.

In her essay, Against Interpretation, Susan Sontag wrote:

"The aim of all commentary on art now should be to make works of art.... more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means."

Sontag suggests that, in the field of art criticism, content, aka: meaning, has taken precedence over form. Roughly translated, my understanding of that assertion is that finding the meaning(s) in a work of art is more important than what the work looks like. And, according to Sontag, that quest for finding meaning, re: the interpretation of work of art, "...is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings'." Hence her statement (with which I emphatically agree):

"...interpretation is the revenge of the intellect upon art.....[I]n place of a hermeneutics we need an erotics of art....to recover our senses. We must learn to see more, to hear more, to feel more."

All of the above written, you might wonder what my point is....well, it's really quite simple. After years of struggling with the "meaning" to be found in my pictures-even to the point of, is there any meaning in my pictures?-I have arrived at a point where I quite emphatically believe that the visual arts, especially the medium of Photography and its apparatus, are meant to be viewed / experienced for their visual quality / characteristics / merits and the feelings-not the thoughts-that they incite. That is to write, the sensory / sensuous pleasure they bring to the act of seeing, by means of the elevation of form over content, aka: meaning.

To that point, consider this...I do not know the context in which Oscar Wilde offered up the following, an opinion which I find particularly pertinent, not only to Sontag's point, but to the manner in which I practice my picture making:

"It is only shallow people who do not judge by appearances. The mystery of the world is the visible, not the invisible."

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

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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