# 6282-84 / common places • common things ~ that is not what I mean

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“Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy.” ~ Susan Sontag

“Whether he is an artist or not, the photographer is a joyous sensualist, for the eye traffics in feelings, not thoughts.” ~ Walker Evans.

THE IDEA OF MEANING, RE: AS AN INTRINSIC CONSTRUCT TO BE found in a photograph, has been kicking about the photo sphere of late. So I thought I would contribute my 4 cents (inflation) to the conversation.

Simply written, I do not believe that most photographs have any meaning(s). Hence, my use of the 2 quotes found on the top of this entry. To wit, “photographs…cannot themselves explain anything”, and, …”the eye traffics in feelings, not thoughts.”

Consider this from Susan Sontag:

The fact is, all Western consciousness of and reflection upon art have remained within the confines staked out by the Greek theory of art as mimesis or representation. It is through this theory that art…becomes problematic, in need of defense. And it is the defense of art which gives birth to the odd vision by which something we have learned to call “form” is separated off from something we have learned to call “content,” and to the well-intentioned move which makes content essential and form accessory…it is still assumed that a work of art is its content. Or, as it's usually put today, that a work of art by definition says something.

To be perfectly clear, I am a joyous sensualist and proud of it. My photographs are meant to display / celebrate the the joy / pleasure of seeing. That’s cuz photography is a visual art. Consequently, I have devoted my picture making to the Art of Observation…

”…the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.” ~ Walker Evans

While there are a zillion essays, treatises, and dissertations regarding “content”, aka: what a piece of art says, the cynic in me-or is it the realist in me….I get the 2 confused at times-thinks that it all comes down to one thing; the idea of imbuing art with meaning came about cuz artists want the populous to believe that making art is difficult, all in the cause of covering up the fact that making art is a fun / pleasurable undertaking.

I mean, ya know, how can anyone take art seriously if it comes about from artists just having fun?

Me. I just try to keep it simple and always remember the words of Yogi Berra:

You can observe a lot by just watching.”

# 6279-81 / flora • landscape • roadside attractions ~ I'd hike a mile (or not)

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Anything more than 500 yards from the car just isn't photogenic.” ~ Brett Weston

I HAVE A LARGE BODY OF WORK LABELED AS roadside attractions. All of the pictures were found and made within 0-30 feet from the road. That’s well within Weston’s 500 yards. I assume that Weston’s idea was based upon his use of cumbersome, large-format gear whereas my gear is quite the opposite. Suffice it to write that gear is not the reason for my attraction to roadside tableaux.

That written, the biggest problem I encounter with making pictures of roadside tableaux, since all of those pictures are made while driving along various rural roads throughout the Adirondack Forest Preserve (aka: Park), is finding a place to park my car. There are times when, after I find a place to pull over, I have to walk nearly 500 yards to the place that pricked my eye and sensibilities. Life, and picture making, can be so hard at times.

In any event, FYI, the picture at the top of this entry is-currently-at the top of my best-picture-I-ever-made list. And, a best of roadside attractions body of work will be posted on my front (WORK) page in short order.

# 6246-55 / landscape • rist camp • common places • common things ~ hit rate much higher than zero

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HIT RATE ZERO, OR SO MICHAEL JOHNSTON TITLED AN ENTRY, wherein he explained / lamented his failure-“I was cold and really didn’t get anything”-to harvest a few situations (aka: picture making opportunities?). After reading Johnston’s entry in its entirety, I was not surprised, for a number of reasons, that he came home with a “hit rate zero”.

item 1 - “…the magic can't happen unless you're out there with the camera” I believe that the idea of looking / waiting for“magic” to rear its head in the making of pictures is a rather bogus pursuit. That’s cuz I believe that if a picture maker has figured out / recognized in a conscious manner how he/she sees the world-literally and figuratively (in a style representing forms that are recognizably derived from life)-the so called (and, iMo, mis-labeled) picture making ”magic” can happen at any time, any where, for any referent.

item 2 - “…any time, any where, for any referent” (my words). The worst possible intent a picture maker can harbor is going out in pursuit of making a “greatest hit” pictures. I mention this in light of the fact of Johnston’s utterly, totally, completely ridiculous / nonsensical / statement that a “…picture works entirely or it doesn't work at all. Everything's a no that isn't a yes.”

iMo, that statement is one of the most destructive-to a picture maker’s “confidence-opinion I have ever heard/ read cuz, over a life time of viewing exhibitions / monographs of “big-name” picture makers’ work, it can be stated / written that not every picture in a given body of work is a “greatest hit” (whatever the hell that is). However, all of the pictures-some more so, some less so-are all working together in a given body of work to reinforce the visual idea the picture maker is striving to create. Think of it as a visual example of strength in numbers.

item 2A - I believe that going out to create pictures of a specific referent (people, places, things) causes most picture makers to miss all the picture making possibilities that surround them. That is, those possibilities that do not conform to what they are pursuing. Case in point, my picture making MO…

I rarely go out with the intention of making pictures. That written, I rarely go out without making pictures. That’s cuz I do not encumber my picture making activities with the inconvenience of carrying a “real” camera. Rather, I always have my picture making device-the iPhone-on my person so that when something-a people, a place, a thing-pricks my eye and sensibilities, I always have the means to make a picture.

The result of that MO is that I have a ginormous library / collection-some might say a grabasstic cluster f**k-of pictures of all kinds of referents-people, places, things. From this seemingly haphazard, random collection there has emerged-I might add, somewhat organically-a number of thematically coherent bodies of work. Bodies of work that I add to, over time, by the mere fact that I continue to make pictures of what I see as opposed to what I have been told-or even tell myself-what is a good picture.

So, the moral of this story is simple. Forget about making the”perfect” picture and realize that some “less-than-perfect”-aka: nearly perfect-pictures are perfectly suited for inclusion in a body of work. And, that bodies of work are what matters most. Plus, if you must concentrate a specific referent / theme in the act of creating a body of work, when you go out to make pictures, take off the blinders that obfuscate the joy of photography. That is, the simple act of just making pictures of any peoples, any places, and any things.

FYI, included in this entry are handfull of some the pictures I made over the past few days. Discursive promiscuity in action.

# 6241-42 / landscape • common things ~ more important than sex

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Don't knock rationalization; where would we be without it? I don't know anyone who could get through the day without two or three juicy rationalizations. They're more important than sex.” ~ from the movie, The Big Chill

BACK IN THE DAY WHEN I WAS BUYING “REAL” (DIGITAL) CAMERAS, I always acquired “last year’s” model . That is, soon after the introduction of the latest-and-greatest updated camera model variant, the market was usually flooded with the prior latest-and-greatest version. At that point, I would acquire a new-to-me “upgraded” camera.

I pursued this approach to camera buying for 2 reasons:

  1. While I could afford the latest-and-greatest camera model upgrade, I thought it better to let the must-have-the-latest-and-greatest suckers-it’s an addiction-take the inevitable depreciation hit that would come soon enough with the next camera model upgrade.

  2. To be honest, since my ability to create photographs that end up on gallery walls is not dependent upon the particular tools I use to make my photographs, I probably could still today be using my first -acquired digital camera with the same gallery wall quality success rate.

RE: back in the day when I was buying “real” cameras - “back in the day” ended about 7 years ago when I last purchased a new-to-me “real” camera. I believe I can write that that purchase will be my last “real” camera-actually 2 cameras-purchase. That’s cuz those cameras still work, on those increasing rare occasions when I feel the need to use them. A need dictated by the need to use my 50-200mm lens (my now “real”camera “normal” lens).

An additional reason, perhaps the most important reason, that I believes drives my never-again “real” camera buying is, quite obviously, the iPhone. Simply written, it meets, and most often exceeds, most of my picture making needs. And, to date, I have had a number of my iPhone made pictures-printed to 20x20 inches-on gallery walls (in juried) exhibitions. There is also the possibility of a solo exhibition of pictures made exclusively with the iPhone-although the gallery committee is unaware of that fact, which is a testament to the quality of the prints.

All of the above written, I must confess to the fact that I have become a victim of the latest-and-greatest camera upgrade affliction…enter the iPhone 14 Pro. While I did skip the iPhone 13 Pro upgrade, there are just enough improvements-most notably (but not exclusively), low light picture making-in the 14 to justify (see the above quote) the upgrade. And, I am reasonably certain, since it just another iPhone, that the wife will never notice the difference.

# 6238-40 / landscape • common places ~ b + w + some gray stuff in between

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…”flat, leaden skies, intermittent rain. Damp and dark. And dull.” ~ Mike Johnston

IMO, IF YOU ARE GONNA DO MONOCHROME, you must embrace the world in all its weather glory cuz, to paraphrase Paul Simon, all the world's not a sunny day, oh yeah. And I might add, iMo, if you can’t make a rainy, cloudy day look like more than dull, maybe monochrome ain’t your calling.

Then again, I am not a monochrome guy, so what the hell do I know about it?

FYI, BW conversion in Photoshop / LAB Color Space.

# 6232-37 / commonplaces • landscape • rist camp ~ (pre) chimping

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“CHIMPING”, aka: a colloquial term used in digital photography to describe the habit of checking every photo on the camera display (LCD) immediately after capture, is very often used as pejorative in the picture making world. A variety of reasons have been offered as to why chimping is considered to be a bad thing but, whatever the case may be, I bring the word to your attention to lead you to the fact that I consider myself to be, in my picture making manner, a practioner of pre-chimping. I.E., using an LCD screen to see how picture will look before making the picture.

However, it should be noted that I have been pre-chimping for decades, long before the advent of digital cameras with LCD screens. That chimping was performed-in my commercial picture making days-with the use of Polariod film in a variety of Polaroid film backs-different backs for different film camera formats (I even had a Polaroid back for my 35mm Nikon cameras). That chimping was done for the edification of clients-art directors, designers, and the like-in order for them to see and approve how the final picture would look.

Of course, I didn’t need no stinkin’ Polaroid prints to know how the finished picture would look cuz, for a significant majority of my commercial work, I used cameras-view cameras and medium format cameras-that had large-ish viewing screens, most often called ground glass and/or focusing screens. Whatever you choose to call them, the point is I was not looking through a viewfinder.

What I was looking at was an image on a flat “screen” which presented that image in a manner similar to how it would appear on the flat surface of a finished print. That is to write, more 2d-like. Therefore, a much better manner in which to see form-the visual characteristic I seek to create / capture in my pictures.

All of the above written, you could (and probably should) assume that I was never preoccupied with the development of the digital camera EVF. Even with those digital cameras I own that have an EVF, I always make pictures with the use of the LCD screen, the only exception being picture making situations which feature fast action. I am not at all bothered by the perception of some, especially “serious” amateur picture makers, that I appear to be, when holding a camera out in front of my face, a lame / clueless snapshooter. Or, much less how, on the other hand, I am perceived when holding my Phone in front of my face while making pictures.

Needless to write, one of the reasons I really enjoy using the iPhone is that very nice viewing screen where upon form hits my eye like a big pizza pie. My only wish is that Apple would put all of their iPhone picture making goodness into the iPad cuz using an iPad screen for picture making would take me straight back to my 8x10 view camera days. Plus, I would no longer look like a clueless / lame , sappy snapshooter cuz I would mount the iPad on a tripod and use / hide under a view camera darkcloth to make my pictures. So instead, I would be perceived as the big-time, hot-shot picture maker that I really am.

# 6228-31 / landscape (ku) • common places ~ the crux of the matter

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HAD TO LEAVE RIST CAMP FOR A FAMILY 3-day wedding event in Vermont. Not my favorite thing to do but family duty calls. In any event, a comment or 2 (or more), re: M. Johnston’s recent post about his methodology for making a body of work.

Johnston’s method broken down to its bare bones requires a year of daily picture making (of a defined idea) to create 400-1500 keepers which, after serious editing, will produce “40–60 pictures that work together in sequence and express my take on my idea.” This method stands in rather stark contrast to my current methodology…

ASIDE it should be noted that my methodology is entirely dependent upon the fact that a picture maker intent upon making a coherent body of work has a firm understanding regarding how he/she sees the world. An understanding which results in a subsequent picture making vision which directs-in fact, mandates-the manner in which he/she makes pictures. That’s cuz-in the Fine Art world, Photograph Division-rare is the picture maker whose entire life-long body of work is not created with a single, finely focused picture making vision. END OF ASIDE

….just earlier this week, “equipped” with my long-standing picture making vision-walking along a plank, dock-like walkway through a very small bog / swamp-within the span of approximately 30-45 minutes I made (iMo) 20 gallery exhibition quality (especially so in my neck of the-literally-woods), intimate landscape “keepers” (one of which is in this entry-more to come when I get back to Rist and some “serious” image processing) which would-and will-make a very nice photo book.

Lest this read like bragging about my super-human picture making abilities, my point this…the most demanding requirement for making a body of work is the time and effort it takes to realize one’s picture making vision. In some cases, that might take years. That’s cuz, iMo and iMe(xperince), a picture making vision can not be manufactured (do not confuse vision with a “creative” technique). Rather, it must flow from within, i.e. one’s nativism-the philosophical theory that some ideas are innate. And, recognizing one’s “native” vision often requires a substantial amount of introspective time, effort and picture making.

To be certain, I am not suggesting that, even after “finding” one’s vision, the making of a coherent body of work is as easy as falling off a log (say, after drinking a pint of high-proof bourbon). There could be many reason’s for extending the time and effort it might require to refine what it is that one is trying to convey. I, for one, will be returning to the aforementioned bog / swamp within the next week to have another look at it. An “effort” that will most likely result in the making of a few more “keepers”.

FYI, there will more to come on the idea of why I believe 20 pictures-no matter the total number of keepers I might have in a body of work-is the upper limit I would ever have in an exhibition or a photo book.

# 6227 / rist camp • common places • landscape ~ looking around the place

made from my Adirondack chair on the Rist Camp porch ~ (embiggenable)

Your own photography is never enough. Every photographer who has lasted has depended on other peoples pictures too – photographs that may be public or private, serious or funny but that carry with them a reminder of community.” ~ Robert Adams

WITHOUT A DOUBT, I CAN WRITE THAT MY own photography is never enough. Evidence of such is the amount of time spent, almost daily, wandering about the interweb looking for / at good pictures. That time is augmented by visits to galleries in order to view photographs. And, time spent viewing photographer monograph books should be thrown into the time-eater machine as well.

I spent all of that time viewing photographs simply cuz of the pleasure I get from doing so. That pleasure, for me, comes in 2 forms: 1) call it inspiration inasmuch as the shear diversity of POVs-how other picture makers see the world-encountered inspire me to keep on making pictures in the manner of how I see the world, and, 2) although I never thought of it this way, it is Adams’ idea of “reminder of community”.

I am not certain if Adams’ idea of “community” is photographer community based or humanity community based, Or, quite possibly, both. However one chooses to understand it, for purposes of this entry I am going with photographer-based community…

In my quest for finding and viewing good photographs, I find the the interweb is a very messy place. Doing searches based on the words “photography / photographs” most often yields up a lot chaff and precious little wheat. Instagram used to be useful but no much anymore. If you are into “groups”-usually very specific types of photography-flickr might be a good thing-but not so much for me.

In any event, let me suggest a method for getting right to the nub of viewing some damn good photographs…

Over the years, I have been submitting photographs to Photo Place Gallery themed juried exhibitions (with, I might add, a great deal of acceptance success). The themed exhibitions request for submissions are issued on a monthly basis and subsequent exhibitions are also presented on a monthly basis. Those photos which are accepted are exhibited online and on the walls of the gallery-in Middlebury, VT. And, get this, for a very nominal fee, the gallery will print and frame your photo for the exhibition. FYI, you can request the print (not the frame) after the exhibition comes down.

That written, I mention Photo Place Gallery for 2 reasons: 1) if you are at times running out of reasons to make pictures, it might be helpful to use Photo Place Gallery’s monthly themes as an exercise to get out there and make pictures, even if you do not submit the pictures for exhibition consideration. When the themed exhibition appears online, you can then see how other picture makers approached the subject, and, 2) re: the point of this entry, the online exhibitions have links to the accepted pictures maker’s websites.

Cuz the quality of the accepted photographs-30 for the gallery / online exhibition + 30 more for an additional online exhibition (selected from several thousands of submissions)-is very high*, using this website as a portal for the viewing, on the accepted photographer’s sites, of some very fine bodies of work is a no-brainer.

The number of viewing possibilities is, quite frankly, overwhelming. I think it possible that one could spend the better part of a year-with time out for coffee and a few naps-exploring the wealth of offerings.

*FYI, the jurist’s for the exhibitions, a different, single jurist for each, are nationally and internationally known photographers, gallery directors, or teachers. Hence the very high quality of the accepted photographs.