civilized ku # 3603 (picture window, sorta) / the new snapshot # 254 ~ it's a prickly business

Plymouth Cheese screen door ~ Plymouth Notch, Vt. (embiggenable) • iPhone

Queen Connie ~ Leicester, Vt. (embiggenable) iPhone

I use the word "serious" (always in quotes) to indicate my picture making that is intended to be create something more than a non-"serious" documentary-type picture. Most often a non-"serious" pictures would be made on my travels or when I just want to picture something I see that's interesting but not a suitable referent for a "serious" picture. The 2 pictures in this entry are good examples of "serious" / non-"serious" picture types.

My intent with the Queen Connie pictures was simply to record a quirky roadside attraction which, as I later discovered, is # 16 on TOP 50 AMERICAN ROADSIDE ATTRACTIONS list. The picture could incite thoughts / comments regarding the strange and sometimes wonderful weirdness than can be found in roadside attention-getting business advertising / promotion items that dot the American landscape.

Often such things are indications of someone's joyful exuberance and, iMo, are worthy of note. That written, there is no heavy lifting, meaning wise, in the making of this picture nor is any required to enjoy it.

On the other hand, there is the Plymouth Cheese screen door picture. This picture was made when my eye and sensibilities, that is my seemingly prenatural sensitivity to color and form, was pricked by what my visual apparatus (eyes + brain functions?) determined to be stimulating. At which point I make a picture.

For my picture making, it really is that simple ... walk around with eyes and mind open and wait for lightning to strike my visual apparatus. The only "work" involved is arranging, by means of arriving at the best POV, those elements into a relationship within my imposed frame which tickles my visual fantasy, by means of "feel' not thought, and there you have it.

In a very real sense, the preceeding paragraph is fodder, if not the actual content, for an artist statement for any of my bodies of work. However, for most of my bodies of work, some other words are needed. In the case of my picture windows work, the words-the fewer the better- would come from answering the question, "Why am I attracted to picturing fragments of the outside world from an inside-out POV?"

In attempting to answer that question, It is quite probable that I have to get uncomfortably close to writing some academic lunatic fringe narcisstic phsyco babble, an endeavor I am loath to undertake. However, simple is as simple does, so...

Were I to venture a guess-without enrolling in psychotherapy for a couple of years-the answer might be that I am viewing the outside world from the safety and comfort of an inside space. While that is true, and rather obvious, in a literal sense, it is probably informative to make the leap to the figurative sense of inside / outside ....

.... I am looking at the "outside" world from the "inside" world of my psyche, a comfortable place to be. Without a doubt, I have always had a rather stolid-bordering on Stoicism ([dictionary definition] "living in harmony with the divine Reason (also identified with Fate and Providence) that governs nature, and are indifferent to the vicissitudes of fortune and to pleasure and pain"- relationship to and with the "outside" world. In practice, I keep a rather snug, but by no means complete, rein on my emotional state(s)....

....which I believe is evidenced in my picture making inasmuch as I make "straight" pictures, unembellished with grand and glorius visual jestures, from a rather dispassionate picturing POV. In other words, I do so from the comfort derived from staying within (inside) the borders of my psyche.

So, perhaps my picture window body of work explains the picture making M.O. I have for all of my work. Or, perhaps not. Maybe, the only artist statement needed for all of my work is that I like making pictures, aka: the joy of photography, and sharing with the world how and therefore what I see. Revelling in what pricks my eye and sensibilities and attempting to prick the eye and sensibilities of others.

FYI, notice that I did not state sharing with the world why I make pictures. That's only important for me to know.

the new snapshot # 249-53 (or there about) ~ simple is as simple does / the mind's eye

water # 1-5 ~ all pictures embiggenable • all pictures µ4/3

Continuing with the last entry's questions.....

c.1930-31, Georgia O'Keeffe agreed to a debate with the editor of NEW MASSES, a leftist periodical, over his denouncement of O'Keeffe's new exhibition as being an example of bourgeois individualism. In an era when the debate in the art world was centered around the idea of whether an artist-in a time of economic crisis, aka: The Great Depression-should be creating social / cultural relevant art, O'Keeffe felt obligated to respond to his criticism in order to defend her work and the Stieglitz group's aesthetic.

During the debate, the editor, Mike Gold, contended that art needed to engage with and reflect the issue of the day which he believed to be the plight of the oppressed. When pressed by O'Keeffe, re: if women were oppressed, he answered that only working-class women qualified as such. O'Keeffe rejected that opinion and went on to state that artists were perfectly capable of expresssing their woes / concerns without creating the "glorified cartoons" that were in vogue with the editor and readers of the leftist periodical.

At that point-and herein is my point re: the last entry's questions-O'Keeffe when on to state:

"The subject matter of a painting should never obscure its form and color, which are its real thematic concerns."

OK. Anyone who has followed this blog most likely knows that O'Keeffe's statement pretty much explains my picture making M.O.. Color and form, independent of the depicted referent, is what / how I see and picture. For the most part, re: my "serious" picture making, the depicted referent is just a visual vehicle that I use to illustrate color and form-shapes, lines, colors and tonal relationships as organized within my imposed frame.

O'Keeffe went onto state, re: meaning ...

"So I have no difficulty in connecting that my paintings of a flower may be just as much a product of this age as a cartoon about the freedom of women-or the working class-or anything else."

That statement again pretty much reflects my feeling about meaning that may or may not be found in my pictures. Viewers of my pictures may intuit / interpret / deduce any meaning therein according to the sensibilities they bring to their viewing experience. Or, none at all.

In most of my "serious" picture making, I have one simple intent. To create for the viewer a visual encounter / stimulation. That written, I am aware that many viewers do have reactions to my pictures that go beyond the visual. Hell, when viewing my printed work, I have reactions that were not present in my mind's eye as part of my picturing activity.

civilized ku # 3598-3601 ~ feeling it again

scale / cheese making place ~ Plymouth Notch, Vt. (embiggenable) • iPhone

sunglasses ~ Middlebury, Vt. (embiggenable) • iPhone

President’s tombstone ~ Plymouth Notch, Vt. (embiggenable) • iPhone

President’s tombstone ~ Plymouth Notch, Vt. (embiggenable) • iPhone

As mentioned, I am on a short (time and distance) visit-just across Lake Champlain-for college graduation event. While here, I am trying desparately to shed my recent travel picture making M.O., aka: I was here, this is what I saw.

While it is certaily accurate to write that all of my pictures are made of seen referents, most of my travel work feels more documentary-like than my "normal" picturing attention to line / shape / form / color / tonal relationships. Of course, when making pictures on my travels, I am concerned with making pictures that do, in fact, illustrate a sense of place and detail of the place(s) I am visiting. Such pictures-presented chronologically-will always end up in a photo book which is intended to tell a story of those travels.

In any event, I feel as though I am getting back into my "normal" picture making groove.

civilized ku #3591-97 (1 picture window + 2 diptych) ~ there and back again

Otsego Lake / Cooperstown, NY ~ (embiggenable) • iPhone

Madonna / Dylan ~ Fenimore Art Museum - (embiggenable) • iPhone

McCartney / Gillespie ~ Fenimore Art Museum - (embiggenable) • iPhone

my most colorful lunch ever ~ Cooperstown, NY - (embiggenable) • iPhone

A 3 day getaway to Cooperstown, NY has keep me away for my computer for a while. Next up this weekend is a trip to Middlebury, VT. for a college graduation event. Followed by a 4 day wedding event trip the next weekend to north Jersey. All of these trips are on-demand trips, aka: your presence is requested kinds things.

Cooperstown-the birthplace of baseball-was a "working" trip for the wife to attend a County Attorney Continuing Ed. conference. There was plenty of time for us to enjoy the sights together.

One unexpected pleasure was had at the Fenimore Art Museum where the first ever currated exhibit of Herb Ritts photographs was on view. While I entered the exhibition, Herb Ritts / THE ROCK PORTRAITS, with a bit of skepticism-I was never a serious Ritts fan-the exhibit was a masterly currated collection of drop-dead gorgeous BW portraits of rock music artists. Impressive on many levels, to say the least.

The exhibition is on view until Sept. 2nd. Since there is a exceptionally nice golf course, Leatherstocking Golf Course, on the shore of Otsego Lake-I played it while in Cooperstown-adjacent to the Fenimore Art Museum, I have 2 reasons for a return visit to Cooperstown.

Leatherstocking Golf Course ~ Cooperstown, NY- (embiggenable) • iPhone

civilized ku # 3590(still life)-92(sports) ~ sorta chained to my desktop

(embiggenable) • iPhone

(embiggenable) • µ4/3 / 100-400mm equivalent lens

(embiggenable) • µ4/3 / 100-400mm equivalent lens

The first photo book, NEW ORLEANS, of my 3 book train trip trilogy is being printed. Working on book 2, Chicago.

Getting this all together has been a time-consuming challenge. My first edit resulted in 238 "keepers" divided into 3 folders - New Orlean, Chicage and Racine. Next step was to process/convert all of them into snapshot quality pictures. Then came the sequencing edit for the New Orleans photo book followed by adding the snapshot border to each picture. Finally, The book was put together and ordered.

Now it's on to the Chicago book followed by the Racine book. And then, finish the prep work for my July solo exhibition at the Adirondack Lakes Center for the Arts.

In between all the train trip work, I have been able to get out and do a bit of sports / action picture making at the behest of my grandson Hugo, the lacrosse goalie. As a high school freshman, he was a 2nd line forward on the varsity hockey team and is currently the starting goalie on the varsity lacrosse team.

civilized # 3589 ~ what complexity?

George Washington bridge ~ NYC, NY (embiggenable)• iPhone

There has been a fair amount of angst being aired on TOP, re: complexity of digital cameras. Nothing new, the complaint has been around for quite some time and, whenever it rears its head, my response is wonder what the fuss is.

While it is certainly true that digital cameras have become ever so menu items rich, they are, iMo, complex to operate only if the user makes them so. The same could be said of Photoshop. However, since my first venture into the digital picture making world, I have been keeping things simple. Not by deliberate intention but rather by the manner in which I use a camera.

I have always, analog or digital, wanted my camera to be set-it-and-forget-it in order to be able to concentrate on the the aesthetics side of picture making. In the analog world, that meant setting the aperture and shutter, focus and get on with it. In the digital domain, I follow essentially the same routine.

I am able to keep it simple because I have set image capture parameters when I first acquire a camera ....Manual Mode, auto WB, neutral color, AF+M focus, RAW files .... and that's the way it remains. I occasionally adjust the ISO and that's about it. In some situations, I make a small +or- shutter speed or aperture adjustment relative to what the auto exposure indicates in order to protect highlights or shadows.

My intention with this M.O. is to get a good RAW file which can be processed using Photoshop-after conversion using Iridient Devloper-to achieve my desired result. My processing technique uses the same few tools for nearly every file.

So, for me, from start to finish, it's simple is as simple does.

civilized ku # 3585-88 ~ wall-worthy?

all pictures ~ (embiggenable) • iPhone

When making pictures on vacation / a trip, it's easy to make a lot of pictures of the I-was-here variety. It's also possible that some of those pictures will look and feel like "serious" pictures. That is, pictures which are wall-worthy, independent of their on-vacation origins.

As I work through the editing of my recent train trip pictures, I am consciously looking for wall-worthy pictures which are "serious" in look and feel. Which is not to write that some of the I-was-here pictures won't end up on the wall. Some will. And, in all probablity, those pictures will be more "liked"-not a criticism, just an observation-than the "serious" pictures from the trip.

Without a doubt both types of pictures will incite a question or two. For the I-was-here pictures, the question will be, "Where was this picture taken?" For the "serious" pictures, the question will almost most always be, "Why did you take that picture?"

Both are good questions. One is much easier to answer than the other.

FYI, the egg shells and grizzle picture was a made arrangement. The woman will umbrella picture was made in New Orleans while the wife and I were sheltering from a downpour. The passersby picture was made while sitting in a bookstore window killing time before our classic Chicago steakhouse dinner. I made over 20 such pictures. The wife in a doorway picture was made in the Art Institute of Chicago. It just might be the best portrait I have made of her. I also feel that the picture transcends the typical portrait picture.