# 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

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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.

# 6389-95 / common places / things ~ free and easy

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DISCLAIMER: OVER MY YEARS OF READING ANY THING I COULD get my hands on (books) or find online, re: the medium and its apparatus, numerous words / phrases / paragraphs / et al have popped up which, to my way of thinking, have relevance to my manner of making pictures. And, over those same years, I have used many of those descriptors on my blog(s) or when talking about my work. ASIDE when using a full paragraph, aka: excerpt, I always include an attribution END OF ASIDE.

That written, one characteristic of my pictures, about which I have made plain, is the fact that my eye and sensibilities are pricked by the quotidian, aka: the “stuff” of everyday life. Or to put it another way…I like to take into account, picture making wise, much that barely impinges, for most, on consciousness, even though it makes up the usual stuff of our lives.

Consequently, since my mind and eye is open to any and all picture making possibilities, I never know where in the world I will “find” my next picture. And, it is precisely that “uncertainty” / openness-my complete lack of previsualization-that allows my seemingly innate vision to impose its will upon / respond to how I “see” / “feel” the correct configuration of visual elements of any slice of the world that pricks my eye and sensibilities.

Simply written, I do not “work” a subject nor I do not “think” about what I am doing. I spontaneously point my picture making device toward whatever has prick my eye and sensibilities, adjust my POV-guided by what I see on the device’s display-until the configuration of the subject feels “correct”-quite obviously determined by my eye and sensibilities-and then activate the shutter. Wham bam, thank you mam.

On those occasions when a picture making effort “works”, that picture is something of a visual delight / revelation to my eye and sensibilities. And that is the reason why I can not stop making pictures.

# 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)

# 6380-82 / around the house • common things ~ what field are you playing on?

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A CONSIDERABLE PART OF PART OF the philosophy of modern pictures project is attempting to get an overview handle on what’s going on in the picture making world.

FYI, I have, for my purposes, divided that world into 2 categories; the snapshots and art worlds. However, to be more precise, the art world is split into 2 categories; decorative art and fine art. And, just to further define things, I have divided the fine art world into 2 sub-categories; the minor leagues and the major leagues.

In keeping with my previous post, wherein I wrote about my target audience, aka: me, of all of the above described picture making categories, the one I am most interesting in addressing in the PoMP project is the fine art / minor leagues category. That’s cuz that’s the category in which I toil, picture making wise. And, I believe that it is that category which holds a significant number of picture makers who are striving to make fine art but who will not make it to the major leagues.

So, in order to for my project to have value for that constituency, I believe that, having toiled in the minor leagues-with considerable success-for a significant part of my picture making life, passing on my experiences therein should be of interest to those working in the same picture making world.

All of that written, and returning to my opening remark, re: attempting to get an overview handle on what’s going on in the picture making world, I came across an item that might be of interest, what’s going on wise, to my blog followers. A collection of approximately 750 pictures which, by the slant of the site on which they are presented, are a fair representation of what’s going on in the minor leagues. And, FYI, if a picture catches your eye, there is usually a link to the picture maker’s site where more of their work can be viewed.

# 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.