#6848-53 / landscape • urban landscape ~ return with me now to those thrilling days of yesteryear

January 10, 2024

SO, THE QUESTION HAS BEEN ASKED…

“Why would a film photographer shoot color?…”

Especially when - according to Mr. Johnston:

Digital color soars way, way past film color… [although] some serious big-city art galleries are still very attracted to large-format (mainly 4x5") color negative film as a medium” ~ Mike Johnston

As a long time picture maker-c.1979-1987-with the use of an 8x10 view camera together with 8x10 color negative sheet film, I believe I am qualified to answer that question….

…in a nutshell, the answer is short and sweet: it is an aesthetic consideration. That is, an aesthetic based upon the look and subsequent “feel “ of prints made with large format color negative film.

To wit, photographs made with large format color negative film are characterized by prints which exhibit soft, subtle tonal transitions, easy on the eye contrast, a “creamy” highlight and shadow presentation, and a very pleasing amount of sharpness and detail. Characteristics which, taken all altogether, yield up, to my eye and sensibilities, what I think of a as very “liquid” visual sensation. For those who are sensitive to such things, this look and feel offers a very attractive alternative to the all too common “hardness / coolness” of most digital-produced work - excessive eye-bleeding sharpness and comparatively rather too-vibrant color properties.

But, here’s the thing…unless you have viewed (I am willing to bet that very few youngins have) as an example, a Meyerowitz print on a gallery wall, my attempt to explain this aesthetic might read as a bit far fetched. Nevertheless, it is a real thing.

And, writing of Meyerowitz, I had a one-on-one conversation with him where we both spent a significant amount of time waxing poetic about our experience with the scanning of our respective 8x10 color negatives and subsequent making of digital prints. The scanning of those original color negatives revealed a significant amount of subtle color, highlight / shadow detail, and resolution that was “hidden” in the enlarger / C print world but was revealed in the digital print making world. That written, the work still exhibited the “classic” look and feel of a C print made from and large format color negative. Meyerowitz exclaimed that he felt as if he was experiencing his work in a somewhat dramatically different manner.

All that written, while I would love to return to making photographs with 8x10 color negative film, it ain’t gonna happen inasmuch as a single sheet of KODAK 8x10 color negative film costs $30US. Add in processing with a 1200dpi scan at $24US a pop and it becomes a very expensive undertaking. Maybe I can apply for a grant.

CAVEAT the scans in this entry of a few of my 8x10 color negatives may or may not, depending on quite a few device viewing variables, get across my point.

# 6835-45 / all things considered ~ life squared-a year in the making

January 3, 2024

(all photos embiggenable) ~ ***adirondack scenic***

***quite possibly my favorite picture from 2023***

AT THE END OF THE OLD / START OF THE NEW year, it customary in some quarters to do a year-in-review thing. In many cases it is a a “best-of” kinda thing. In any event, here is my take on it…

Inasmuch as, in an overall scheme of picture making things, I toil in the discursive promiscuity garden of picture making, I nevertheless feel compelled, by the medium’s custom of organizing itself into recognizable, theme-based bodies of work, to relegate my pictures to separate / definable bodies of work - 10 bodies of work as presented above.

That written, re: the pictures in this entry, while they are presented as the “best-of” each category, they are not necessarily my favorite pictures of 2023. If I were to discard the limits imposed by adhering to separate theme classification, it is possible that some of these pictures would not make the cut. Case in point, the adirondack scenic picture would be nowhere to been seen.

That’s cuz, to be honest, that genre-“beautiful” scenery pictures-is not something that I pursue with any passion. The simple fact of the matter, picture making passion wise, is that the only dictate that drives my shutter activation finger is the making of pictures of selected segments of quotidian life which prick my eye and sensibilities.

# 6823-25 / common places • common things ~ observation full and felt.

December 4, 2023

WRITING ABOUT WILLIAM CHRISTENBERRY’S KODAK BROWNIE snapshots, Walker Evans wrote:

I need not proclaim the distinction in these unpretentious pictures. They will be spotted by the many experts who now follow photography in all its turns-and they will probably be mishandled in one way or another, as usual. I want, though, to indulge myself in the truly sensual pleasure of these things in their quiet honesty, subtlety, and restrained strength and their refreshing purity. There is something enlightening about them, they seem to write a new little social and architectural history about one regional America (the Deep South). In addition to that, each one is a poem.

ASIDE Christenberry-who later became close friends with Walker Evans-made his Kodak Brownie camera pictures in the 1970s, getting his prints done at drugstore photo counters as he toured and pictured Hale County, Ala., where his family is from. Hale County is the local where Evans made many of his acclaimed photographs.END ASIDE

I stumbled upon Christenberry’s little color snapshots-and the above quote-earlier today while I was (re)reading the DOCUMENTATION chapter in the new color photography book. That reading was instigated by a desire to find some insight into the art world thinking, re: documentation, that I might pass along with the posting of the pictures presented in this entry. Pictures that some might think to be mere documents, or, some might think to be fine art, or, yet again, some might think to be casual snapshots.

In any event, it would seem that at least one influential author / critic-Sally Eauclaire-along with Walker Evans believes that a photograph made in a documentary style that exhibits honesty, subtlety, and restrained strength and their refreshing purity also can possess artistic merit. And, as more investigation, as written in 2010 in the Washington Post revealed:

“The drugstore prints barely even seem to count as art. That's what makes them so wonderful and so important. They feel like they provide the most direct, intense, unmediated encounter with the reality that matters to Christenberry, without any artifying filter getting in the way.”

So, all of that written, what I come away with is that I can at least feel good about the M.O. with which I approach my picture making; striving to make pictures that are quiet, direct, unmediated, honest, and art sauce free. Whether that M.O. translates into pictures that viewers perceive to possess those same qualities is out of my control.

# 6818-22 / landscape • people ~ pastoral

November 29, 2023

***Talamore GC between the 16th and 17th (shown) holes*** ~ all photos **embiggenable**

AFTER 2300 MILES OF DRIVING-including 2 separate white knuckle drive snow storm events-and 72 HOLES OF GOLF later, I am back sleeping in my own bed.

Today, I fired up the desktop machine in order to process-or re-process-a few landscape pictures I made while in Pinehurst. The Talamore GC in particular called for some fairly nuanced processing that I could not have accomplished with the non-PS tools I had while on the road.

That picture has, to my eye and sensibilities, a very Hudson River School vibe and feel to it, albeit subtle. It has all the necessary ingredients: animals, contrasting foreground / background vistas, and interesting light (on the more subtle side than the very dramatic light found in most HRS paintings).

Not sure if I have nailed the processing yet. Have to live with it for a while and see.

6789-94 / travel ~ how I see it

November 11, 2023

IMO, THE CHALLENGE WHEN MAKING PHOTOGRAPHS WHILE TRAVELING is to make pictures that do not look like travel postcard pictures-deadpan pictures of ever so obvious tourist attractions and spots-yet, while staying true to your vision, still manage to capture an everyday-like sense of being there in the moment.

# 6780-85 / landscape ~ hilly, but flat as a pancake

November 6, 2023

***Val d’Orcia view from the bedroom balcony of Pope Pius II’s summer residence*** ~ Pienza, Tuscany

WHILE RUMMAGING AROUND IN MY PHOTO LIBRARY LOOKING for street photography pictures-pictures which are most often made (by me) in cities in foreign countries (see my new street photos folder on the WORK page) ~ Tuscany-I was snared by a handful of Tuscany landscape pictures that were made with a long focal lens. For whatever reason, most, but not all, of of my Tuscany landscapes were made with that lens. Apparently, to my eye and sensibilities, that is how I was inclined to “see” it. In any event, it seemed logical to post these pictures-culled from many-for your viewing pleasure and as a follow up to my recent entry, re: making pictures with a long focal length lens.

On a different topic: re: “…the ever growing feeling that everything I photograph just seems derivative anymore” - a quote from a comment left on TOP. On that topic, consider this:

For the first several years one struggles with the technical challenges, making sure and steady progress - a learning curve and growth process that is rewarding, stimulating and self-renewing. But, eventually every photographer who sticks with it long enough arrives at a technical plateau where production of a technically good photograph is relatively easy. It is here that real photography starts and most photographers quit. ~ Brooks Jensen

We have certainly reached a plateau, technical wise, were the making of a “technically good photograph is relatively easy.”. A fact that seems to concern-some might even say “threaten”-those “serious” amateur photographers who have arrived at that plateau after a long and concentrated effort to reach it. iMo, at the very least, I believe it pisses them off that the un-serious picture taking rabble can make pictures which-to the average viewer’s eye and sensibilities-rivals there own pictures.

Well, iMo, those “serious” makers have been skating on thin ice, status wise, cuz it was only a matter of time until the march of technological progress, in this case re: the ability to make technically good photographs, washed away their claim to picture making fame. I believe that situation might cause a significant number of serious amateurs to to think, if everyone can do it and I don’t stand out, what’s the point? Hence, their reaction to this situation has been, almost across the board, to claim that their pictures are technically superior to those made with an iPhone (the device at the top of their derision list).

However, whether they are aware of it or not, that epithetical pronouncement exposes their obviousness to the fact that the average viewer, much more so in the fine art world, doesn’t give a crap about technical perfection. For the average viewer, a decent depiction of a person, place or thing is more than good enough for them. In the fine art world, a decent depiction is good enough as long as a photograph is about more than just what is depicted.

All of that written, it brings me back to my first quote “…the ever growing feeling that everything I photograph just seems derivative anymore”….

…inasmuch as most serious amateur photographs make photographs that are, primarily, referent-centric and are made, more or less, according to the “standard” rules and conventions of the medium, it is no surprise that many might end up feeling that their photographs are derivative. Given that most of their referents are those which are considered by the average viewer to be “beautiful” or interesting, it is only a matter of time until they either run out of such referents and start to repeat themselves, or, that they realize that their pictures look an awful lot like everyone else’s pictures.

And, it is at that point that their enthusiasm for making pictures wanes, cuz, if you don’t stand out (cuz everyone can do it), what’s the point?

# 6772-76 / landscape • rain ~ reaching way out there

October 30, 2023

WOKE UP TO RAINY OVERCAST DAY. AFTER MY morning wake-up routine, I was overcome by an unusual desire…the need to get out and make photographs with a tele-only zoom lens. An activity which would, gasp!!!, require the use of a “real” camera.

I can write, for a fact, that I have no idea what came over me. Nevertheless, I pulled out one of my Olympus µ4/3 cameras and my Zuiko 50-200mm e100-400) f2.8 lens, donned rainy weather gear, and headed out the door for short, 3-4 mile picture making drive around the “neighborhood”.

I will admit to it feeling kinda weird hauling around what felt like a large brick, looking through a viewfinder, making aperture-mostly wide open cuz I was not looking for maximum DOF-and shutter speed adjustments, and checking for critical focus. FYI, most of the pictures were made with the zoom set to focal lengths somewhere between e300-400mm.

Despite the fact that using a “real” camera felt somewhat old-timely, I can write that I have always enjoyed making pictures with the use of long focal length lenses. That’s cuz the so-called perspective compressing effect captured by-but not created by-long focal length lenses helps emphasize the flat 2D field of a photographic print. To my eye and sensibilities, an emphasis that, with careful framing of selected sections of the real world, reveals the purely visual 2D viability of that 3D world. iMo, an emphasis that elevates a picture into the arena of fine art because it gives the eye and visual senses something to view, consider and appreciate beyond the mere literal depiction of a section of the real world.

# 6749-56 / landscape • rain • kitchen life • sink ~ autumn drive with pie

October 23, 2023

SATURDAY PAST I TOOK A MEANDERING COUNTRYSIDE DRIVE TO a farm stand to procure some fresh apple cider, concord grapes, and some produce. The weather was absolutely enchanting with rain, mist, and a leaden overcast. The landscape provided a bounty of picture making opportunities.

The fall harvest bounty was put to good use. I made a grape pie with the concord grapes. On Sunday the wife made roasted acorn squash-cut in half to make bowls-filled them with her homemade beet borscht soup with dollop sour cream. Then served them for dinner with a side of pan fried kielbasa. All in all, it made for a great weekend during which we celebrated our 26 wedding anniversary.