# 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

all pictures ~ (embiggenable)

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)

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

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.

#6369-71 / common places • common things ~ confined to quarters pt.2

driving home from pharmacy ~ (embiggenable)

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ABOUT A WEEK AGO WHEN I WAS CONFINED to quarters, it was related to a extreme weather event. This time it’s cuz I am under the weather (to use a commonly expressed idiom). The “weather” in question this time around is Covid.

My symptoms are quite mild with extreme fatigue being the featured ailment. While this could not have happened at a more inopportune time, I should be out of isolation-my bedroom which, fortunately, is a suite with comfortable reading chairs, a tv, a full bathroom, an insulated porch, and some nice pictures on the walls-on Xmas Eve day.

That written, I do get out of the bedroom every now and then. I can do that cuz there is no else in the house other than the wife who came down with Covid a few days before I did (and then passed it on to me).

FYI, the wife and I both got Covid even though we are both up-to-date on vaccines. Obviously, the Covid keeps evolving but medical knowledge believes that our mild symptoms are due to the fact that we are up-to-date vaccine wise. Who knows? But, iMo, it’s better to try to be safe than to end up being sorry.

# 6366-68 / discursive promiscuity ~ any where, any place, any thing

book covers ~ note the crumpled BANKRUPTCY banner in store window • (embiggenable)

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AS I MOVE ALONG WITH THE PHILOSOPHY PROJECT /BOOK, I am still trying to come to grips with what the book should be about. During that mental wrestling contest, the only “philosophy” I have come up with, re: why people make pictures, is quite simple (albeit very broad in scope):

Any time, any place, any thing (especially your face). Everyone photographs cuz they like what they see.

No matter under which genre banner a photographer might be toiling- decorative art, fine art, or no art at all-the ubiquitous snapshooters who are simply, without artistic intentions, recording the goings on in their life-I believe it is safe to write that they all like (and photograph) what they see.

Of course, what a photographers “sees” can have a literal and/or a transformative meaning inasmuch as those photographers working under the decorative art banner, along with the ubiquitous snapshooter, are relentlessly and unabashedly wedded to the actual referent depicted in their photographs. Whereas, those toiling under the fine art banner are much more inclined to “see” (and photograph) something that goes beyond the literal visual characteristics of their depicted referent. Thereby causing a change in how the viewer perceives, within the photographer’s chosen framing-and “organization” of line, shape, color, tone, and space-the depicted referent.

All of that written, with either a literal or a transformative picture making intent, I think it safe to write that photographers like what they see cuz, whatever they see or however they see it, they most definitely like it for its potential as fodder for the making of a good picture.

on my way back from the grocery store ~ (embiggenable) - I definitely liked what I saw

# 6353-55 / common places • common things ~ better duck, here they come

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CAVEAT: IN THIS ENTRY, NAMES HAVE BEEN CHANGED-or omitted-to protect the guilty..err…ah, I mean the “innocent”.

This entry is a followup to my last 2 entries wherein I mentioned: a. prints-”the very thing one sees on the wall of a gallery or in a photographer’s monograph”-and, b. “the ease of making “good” pictures-i.e. sharp, correctly exposed with decent color balance, referent in focus and the like”.

Re: a. the print: on a recent entry on TOP, The Printing Challenge, wherein Michael Johnston wrote about “the treacherous waters of home printing”, incited 2 diametrically opposed responses….

“'…it's not a photograph until you can hold it in your hand.' I completely fail to understand folks who spend a fortune on cameras and lenses and the show their images only on a screen.”

….and this are-you-kidding-me pile of steaming xxx xxxx…

“We're not in the 1980s anymore. The print is no longer the ‘gold standard’.”

The later comment was put forth by a picture maker whom the former comment poster would “completely fail to understand”. That written, I have a pretty good inclination as to the source of the picture maker’s no-longer-the-gold-standard comment. Having viewed, over the years, a variety of pictures posted by said picture maker-who only shows pictures on a screen-I can write with complete assurance that that picture maker makes very few, if any, print-worthy pictures. Therefore, following the logic, there is no reason for that picture makers to make prints.

Re: the ease of making “good” pictures: due to the fact that only 7% of pictures currently being made are made with a real camera, I can picture, on the hi-def screen in my head, the beads of sweat cascading down the forehead of those “serious” real-camera picture makers as they hear the disturbing pitter-patter of the feet of the smartphone-wielding crowd who are breathing down their necks, good picture making wise.

To wit, so many of the “serious” real-camera picture makers-the aforementioned picture maker included, maybe even head of the class-pin all of their picture making hopes and dreams on the fact that they spend a fortune on expensive cameras, lenses, and related gear in the pursuit of making really good pictures with the belief, aka: delusion, that the resulting pictures will separate their work from that of the maddeningly annoying, camera phone picture making crowd.

iMo, their work is in fact separated from the maddening crowd, but not as a result of the gear with which they make their pictures. No. The most distinguishing characteristic that separates their pictures from those made by maddening crowd-using camera phones or even real cameras-is the fact that most pictures-to be certain, most, but not all pictures-made by the average gear-obsessed picture maker is sorely lacking in unique personal vision. A condition which is not aided, but rather, retarded by the fact that most of the gearheads make their pictures by-the-numbers, aka: the “rules” of so-called “good” photography, aka #2: what they have been told is a good photograph.

So there you have it. Another bit o’ words that will, in one form or another, be part of my modern pictures philosophy.