# 6606-09 / travel • common places • common things ~ from this day forward

June 12, 2023

***daughter and husband return from their Mediterranean honeymoon****~ (embiggenable)

FROM THIS ENTRY FORWARD YOUCAN ASSUME, UNLESS otherwise noted, that all pictures have been made with PRORAW.

Now that I have programmed the RAW processing process into my muscle memory-I use a lot of keyboard shortcuts-it has become obvious that that process is actually less involved / time consuming than working with jpegs. That’s cuz I do not have contend with circumventing the iPhone picture making AI that wants every picture to look like a bright, sunny-like Kodachrome day.

Amongst other things, I no longer have to soften, aka: reduce contrast, highlight values. The shadow values require less work to reveal detail and the color values, re: saturation, are much more realistic / natural. Although, I still reduce, but to a lesser extent than when working with jpegs, contrast in order to achieve a smoother tonal transitions.

My image file processing is based around the idea of achieving a file that, when printed, has the look and feel, of what some might call it, an old-timey C print (on Kodak Ektacolor paper-although Agfa color paper was very nice-made from color negative film). To my eye and sensibilities, that look and feel has a very satisfyingly “gentle” appearance that is the polar opposite of what I consider to be the retched excesses of the digital realm-i.e. fetish-like obsession with sharpness / resolution, max dynamic range, “punchy” colors and saturation, and the like.

That written, digital prints are very capable of replicating the look and feel of a C print when the originating file has the “right” look and feel. And, FYI, when I was talking with Joel Meyerowitz-I received an invitation to the NYC opening of a gallery exhibition showing the work of Meyerowitz, Shore and Eggleston-we both mentioned our surprise that, when we scanned our 8x10 color negatives, how much additional information-detail and color range-was to be had from a color negative and was subsequently revealed in a digital print.

***me looking at a Meyerowitz after my conversation with Meyerowitz*** ~ (embiggenable)

* no, they did not take the train back from Europe. Instead, they flew from Europe to Montreal-only 50 miles or so from where we live-and rode the train, The Adirondack, to home where we met them at the station. The Adirondack runs daily-both directions-between Montreal and New York City. The route, along the very edge of Lake Champlain and the Hudson River has been voted as one of the top 10 picturesque train trips in the world.

# 6602-05 / commmon places • common things ~ old dog, new tricks

June 10, 2023

I TOOK AN OATH THAT I WAS NOT GONNA do it but I gave in and did it nevertheless. Made a few iPhone Apple PRORAW pictures just to see what’s what and, damn it, it is even worse than I thought it might be. That is to write, the files are so superior to iPhone jpegs-which are very good-that I am now doomed to making PRORAW files forever.

What that means is extra processing steps-mainly adding CAMERA RAW processing to the workflow-and, in the case of making 48mp originals (main camera only), the resulting 210mb files will definitely require increasing my storage / backup needs. Fortunately, it seems that my desktop Mini Mac is up to the task of handling the bigger files. Although, that written, I have set my camera format preferences to making12 mp files - I’ll save the 48mp format for special picture making situations.

The 4 pictures in this entry are examples of the results from PRORAW files.

RE: “superior to iPhone jpegs” - the primary differences that I see in PRORAW files are; A. (obviously) the total lack of any AI applications that create a look that Apple developers think is what a picture should look like, B. hence, rather nice tonal smoothness, C. increased dynamic range (more shadow detail, smoother highlights), D. “natural” color and color saturation, E. increased but not exaggerated fine detail.

CAVEAT: Unlike that Texas based gear-head who actually believes that he can post jpegs online that illustrate the fine visual file qualities of different lens / camera sensors, et al, I realize that my sample images might not demonstrate fully the visual qualities of the PRORAW files.

My only suggestion to those of you who might be “serious” iPhone camera module users who “concentrate” when making your pictures, try PRORAW. You might like it.

# 6587-90 / travel ~ separating the wheat from the chaff*

June 3, 2023

*my brother asked, “Why are you taking a picture of that*?” ~ (embiggenable)

*who would have guessed*? ~ (embiggenable)

***it’s true, I am the fucking artist*** ~ (embiggenable)

I AM AT THE 130 PICTURES MARK, re: pictures made while in Portugal. The wife is sending me a few of the pictures she made for inclusion in the total. I’m thinking that I will edit the pictures down to about 100 for inclusion in the Portugal book / album.

That written, it occurred to me while staring at the complete folder in Adobe Bridge that, just as an exercise in editing, I would see if I could make a collection of just 20 pictures which would, in minimalist kinda way, represent a believable summary of our trip. As it turned out-at least for me and the wife-it was possible.

Re: at least for me and the wife, it was possible. That is to write that, for other viewers, it might be a reasonably indicative view of our trip, but that impression would very limited relative to how the pictures “work” for me and the wife; i.e., that’s cuz, for us, each of these pictures trigger numerous memories associated with what each picture represents. Memories that other viewers would not associate with each picture unless they had visited Portugal.

That written, the fact is that this selection of pictures is more suggestive of what I saw-aka: my experience-in Portugal than it might be for the wife. That’s why I have asked her to sit down and work her way through the Adobe Bridge album and select 20 pictures which would incite the most memories, specific for her experience in Portugal. Looking forward to seeing the results of that exercise.

* this subtitle is not meant to suggest that there is any “chaff” in the entire body of work. It is, of course (iMo), all “wheat”. That written, some of the wheat, in this case, was more suited to my specific editing purpose.

ADDENDUM the wife has read this entry and, to reinforce my point-re: my experience, her experience-she states that she would not have chosen the same 20 pictures. That’s cuz, for instance, she did not drink as many sangrias as I did. And, furthermore-re: incited memories-she has no idea where I made the WR triptych pictures even though she was sitting right next me (having a refreshing drink) when I got up and made the pictures.

# 6555-59 / common places • common things • kitchen sink ~ walk and see

May 6, 2023

OVER THE PAST COUPLE DAYS THE COLOR red seems to be following me around. Or, is it just the opposite - I’m following it around?

However, point in fact, the matter is as simple as Lee Friedlander stated (modified by me), re: Joel Cohen’s comment about his pictures:

“He says all kinds of nice things that I don’t recognize. Splitting Red, splintering Red. Evidently my pictures are that way, but I didn’t think, ‘I want to take a splintering red picture.’ If you’ve done the same thing for 60 55 years, you don’t think of motive very much. I just walk and see something interesting that pricks my eye and sensibilities.”

iMo, walking-aka: being there-and seeing-with mind and eyes wide open-are the prime ingredients for making good pictures.

Forget motive and simply spontaneously react-exploiting the medium’s unique-amongst-the visual-arts characteristic, aka: its intrinsic relationship with and as a cohort of the real-to something visually interesting that pricks your eye and sensibilities. In doing so, a personal vision, aka: how you see, will emerge seemingly unbidden.

Or, in other words, don'‘t think about it. Just do it. As Joel Cohen put it:

“…the obligation of the person who makes the work is to make the work, and the obligation of the people who view the work is to think about it.”

# 6551-54 / common places • common things • shallow DOF ~ it's all a blur

May 2, 2023

SINCE THE START OF MY DIGITAL CAMERA USE, I kinda missed the shallow DOF possible with most film-based cameras. That fact was exacerbated by my adoption of the micro 4/3 sensor - the smaller the sensor, the smaller the lens-projected image magnification factor = greater apparent DOF at any f-stop setting.

In order to mitagate this DOF situation, I acquired only fast, prime lenses that I used wide open to obtain some satisfactory measure of shallow DOF (when desired). Worked in some picture making situations, not so much in other situations. With the availability of full-frame digital sensors / cameras, I was sorry tempted to make the switch from µ4/3 to full-frame but, the cost / benefit ratio-duplicating my µ4/3 system-for the number of times I might want shallow DOF was most definitely out of whack. But wait….

…enter the PORTRAIT setting on the iPhone…

ASIDE this would be a good place to pause and take a deep breath if you are one of those “purists” who whine, moan, or outright scream that the iPhone PORTRAIT setting ain’t" “real” DOF. END ASIDE

…and as far as I am concerned, all is right with the world.

In any event, this entry was instigated by Mike Johnston’s request for submissions to another of his BAKER’s DOZEN call for work. The theme is pictures with “some king of blur” with the caveat that only pictures expressly made for this BD Blur event-created after 4/28/23-would be considered for prize awards. However, I believe that this caveat has since been rescinded.

Before that rescinding, I was rather annoyed cuz I have an ever expanding body of work in which blur-to one degree or another, one type or another-is the predominant visual component. That body of work is comprised of pictures made using the iPhone PORTRAIT setting. Nevertheless, within a few hours of seeing the BD Blur request for pictures, I made a few new pictures with the iPhone.

FYI, one thing I really like about the iPhone PORTRAIT setting is the fact that the apparent DOF can be adjusted / fine tuned, ad infinitum, to any desire result after the picture has been made. Try doing that with your shot-wide-open “real” digital camera.

I will be making more blur pictures before submitting one to the competition. FYI, I have only submitted to two BD competitions. Accepted to both-Cameras, and In the Museum. Be interested to know if any followers of this blog participate.

# 6550 / common places • common thing • An Adirondack Survey ~ letting it all hang out

April 28, 2023

I AM APPROACHING THE An Adirondack Survey PROJECT finish line. 2 copies of the 110-page / 52-photos book are in production and 20 prints are ready for the folio. It has been a rather demanding physical-many hours in front of the computer-and mental-picture editing-undertaking.

RE: picture editing - the final edit of the book includes 54 photographs, selected from the nearly 300 photographs in the An Adirondack Survey folder. Selecting those 300 photographs from my 10,000 photo library was rather time consuming. Editing down to the final 54 photographs was quite challenging inasmuch as, although there were approximately 45 no-brainer inclusions, there were 8-9 photograph pages that were in constant flux-this photo in, that photo out, that photo in, this photo out, seemingly ad infinitum.

Then there was, for me, the seemingly inevitable happenstance of hitting the PRINT button for a POD photo book, any photo book, and, within 24 hours thereof, making a picture that just screams to be included in the book. Happened 2x after hitting the PRINT button for 2 “proof” books.

The other project component that required editing was selecting photographs for the print folio. The big question was whether to print selected “greatest hits” from the book-the purpose of the folio was to demonstrate the high quality of the prints-or to print photographs that were not in the book. I went back and forth on this question for quite a while. It wasn’t until I did a deeper dive into a few other body-of-work folders, during which I “discovered” quite a number of additional “greatest hits” that it became obvious that printing them would vastly improve the scope of the An Adirondack Survey collection.

All of that written, now comes the scary part of the project. Sending out the door a significant part of my picture making endeavors for consideration, a judgement of sorts, of a (possible) exhibition. Soar-and-fly or crash-and-burn time is soon upon me.

# 6543-47 / common places • common things • the natural world ~ the end of composition

April 16, 2023

***small Adirondack village*** ~ (embiggenable)

HERE IN THE ADIRONDACKS SPRING HAS SPRUNG all over the place with great vigor . Yesterday’s high was 80 degrees with bright sun and blue skies. So, the wife and I, together with a good friend, headed out for a circuitous-down to the central Adirondacks and back-200 mile drive, ostensibly to pick up 3 cases of wine for our daughter’s wedding this coming weekend.

Along the way we sought out 3 raging, thunderous spring-melt falls and had a late lunch in Chef Darrell’s diner-his mouth-watering meatloaf for me-in Blue Mountain Lake. Naturally, I made some pictures along the way.

Today, while I was processing those pictures, I was thinking about the idea of “composition”. FYI, that’s a word that rarely enters my vocabulary in describing how I “arrange” things in the making of my pictures. Thinking about it, I believe that my deliberate disdain for that word and the picture making conventions it represents originates from my participation-as an consultant (my name is in the book’s acknowledgements) about the medium and it conventions-with Sally Eauclaire in her preparation for her landmark book, the new color photography.

Sally, to whom 100s of photographers submitted work, would, on a regular basis, bring work to my studio where we would spread it out on the studio floor. Then she and I would walk round the spread and she would asked me questions about various pictures. Questions along the lines of “how did the photographer achieve that look / result / effect?” She was not soliciting my aesthetic opinion. Rather, she had absolutely no experience, re: the medium and its apparatus.

In any event, one of the prominent things I took away from that experience was that, in the viewing of all that work from all of later considered masters of modern fine art color photography, I saw nothing in the photographs that evidenced any notion of conventional photographic composition. None. Nada. Not even a hint.

While those early color photographers were credited with many ground-breaking accomplishments, iMo, except for the traditional photo press / media who piled on declaring the work to be a “put-on…worse than amateur snapshots…these photographers can not be serious” and the like, little attention was paid to their notions, re: composition. It took someone-Sally Eauclaire-who was not bound by knowledge of conventional photographic composition technique to look at photographs from the perspective of the Fine Art World with its emphasis on the traditional elements of Art; line, shape, space, color, value, form.

In effect, those photographers stated, via their work, that composition, as it was formally recognized, was an aesthetic dead end. (you can quote me on that)

All of that written, I have written a mashup of my words together with words and phrases-borrowed from Eauclaire’s book-that reflect my notion of “composition”:

iMo, the best photographs are those made by photographers who perceive real objects and intervening spaces as interanimating segments of a total visual presentation; a discernment from which they create a delicately adjusted equilibrium in which a segment of the real world is co-opted for its visual possibilities, yet delineated with the utmost specificity. Their images, in printed form, exist simultaneously on a continuous 2-dimensional visual plane on which every space and object are interlocking pieces of a carefully constructed jigsaw puzzle and a portal through which a viewer can discern navigable space and recognizable subject matter.

Although, if I were to eschew all the art-speak, I suppose I could just quote Edward Weston:

“Now to consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk….Good composition is merely the strongest way of seeing.”

However, which ever way you wish to read / hear it, suffice it to write that there are no “rules” for good composition.

# 6519-29 / common places • common things ~ have camera, will travel

April 3, 2023

***through the sunroof opening of my car*** ~ (embiggenable)

***a tree grows in Brooklyn*** ~ (embiggrnable)

DROVE TO NYC THIS WEEKEND TO SEE A Broadway play. Had no real intention to make pictures but, as it turned out, I made enough pictures to make a 20-picture POD book.

Stayed with extended family-the wife’s brother’s family-in Brooklyn. After the play met with more extended family-the wife’s older sister’s and older brother’s family members-for drinks and snacks at an Irish Pub in the NYC Theater District.

Had no real intention to make pictures but ,nevertheless, I made enough pictures to make a 20-picture POD book. And, it was while I was in the Times Square / Theater District, I discovered that I should return to NYC for 2-day photo project-photographing food carts. The picture making possibilities are, seemingly, endless. And, I get tingly all over just thinking about the dusk hour possibilities-colorful food carts together with about a billion neon lights + video billboards. Might even need some anti-seizure meds.

In any event, as is often the case, during this trip I did not make a single picture that included a family member. Although, there was one related harrowing event. After getting a passerby to agree to make a picture, the family members clustered together for a family picture-lower Manhattan skyline in the background. On a strongly-held anti-cliche picture making principle, I refused to participate-neither the making of or being pictured therein-but, after the picture was made, the SOBs bolted over to where I was hiding / sulking and had another picture made.

Rats. Foiled once again.