BODIES OF WORK ~ PICTURE GALLERIES
BODIES OF WORK ~ BOOK LINKS
In Situ ~ la, la, how the life goes on • Life without the APA • Doors • Kitchen Sink • Rain • 2014 • Year in Review • Place To Sit • ART ~ conveys / transports / reflects • Decay & Disgust • Single Women • Picture Windows • Tangles ~ fields of visual energy (10 picture preview) • The Light + BW mini-gallery • Kitchen Life (gallery) • The Forks ~ there's no place like home (gallery)
Wednesday, November 4, 2015 at 09:58AM 
looking at Vermont ~ Lake Champlain / Peru, NY - in the Adirondack PARK • click to embiggen
driftwood ~ Lake Champlain / Peru, NY - in the Adirondack PARK • click to embiggen
Tuesday, November 3, 2015 at 09:55AM 
rainbow and atmospherics ~ Wilmington, NY - in the Adirondack PARK • click to embiggen
rainbow and atmospherics #2 ~ Wilmington, NY - in the Adirondack PARK • click to embiggenSunday morning on The Flats in Wilmington.
Monday, November 2, 2015 at 09:34AM 
I'm making some pinhole pictures for submission to a juried pinhole picture exhibit. Using a pinhole lens on my µ4/3 cameras. More on this later.
Friday, October 30, 2015 at 09:55AM 
With the exception of the 40 MPH / Curve picture in the first entry, those outliers will not be included in the final edit. The 40 MPH / Curve picture is the exception because it will be used as the cover to the 1/5 sec. POD book in as much as that picture establishes the roadside aspect of the body of work. In any event, I am diligently editing all of the 1/5 sec. down to a 20 picture body of work. I'll be posting the final edit next Monday.You may have noticed that in each of 4 1/5 sec. entries the first picture was something of an outlier. That is, they are not quite in keeping the predominate referential theme of detritus / scrub / tangle.
Friday, October 30, 2015 at 09:47AM 
Just a quick morning picture treat before the last installment of 1/5 sec. in my life memorialized (later this AM).
Thursday, October 29, 2015 at 05:26PM 
The first thing that photographer learned was that photography dealt with the actual; he had not only to accept this fact, but to treasure it; unless he did, photography would defeat him. He learned that the world itself is an artist of incomparable inventiveness, and that to recognize its best works and moments, to anticipate them, to clarify them and make them permanent, requires intelligence both acute and supple.Quite obviously the medium of photography, its apparatus and its vernacular afford the picture maker with the means for the making of a wide range of artistic expression. However, as any long time follower of The Landscapist knows, I am a fervent and committed devotee of straight picture making, aka: the making of pictures which present an accurate and true - as much as the medium and its apparatus allow - representation of what is.
On that idea, John Szarkowski wrote:
But he learned also that the factuality of his pictures, no matter how convincing and unarguable, was a different thing that the reality itself .... [T]he subject and the picture were not the same thing, although they would afterwards seem so. It was the photographer's problem to see not simply the reality before him but the still invisible picture, and to make his choices in terms of the latter.
.... it has been opined that a picture maker, in his/her act of selection, makes a picture which draws attention to the selected referent and in doing so elevates / memorializes that referent as an thing worthy of attention. In many cases, simply making visible that which, while looked at, is seldom looked into.
But of course, the referent which the picture maker has deemed worthy of attention / memorializing, the thing itself, is not the same thing as the picture made of it. The picture is, in fact, a thing in and of itself, in many cases worthy of attention and consideration based upon the merits of its visual appearance and presentation - I am referring, of course, to the thing in and of itself known as a print (if you're not making prints, what's the point?).
Consequently, I have come to the realization that the attention, interest, appreciation and admiration I give to my pictures is related to the object (the print) in and of itself and to the object / referent from which it derives. That is so inasmuch as the beauty I have extracted / memorialized from the reality of the object depicted is made manifest / realized in its representation. The referent and its representation are inexorably linked and both are worthy of attention, interest, appreciation and admiration. Although, each for reasons unique to the things themselves.Thursday, October 29, 2015 at 09:48AM 
While I'm working on my next 1/5 second entry (for later today), I am posting this entry of back logged pictures made over the past week.
The pictures in the triptych - dining & imbibing establishments - were made over a 24 hr. period last Wednesday / Thursday. L-R: our Anniversary dinner at Interlaken in Lake Placid / killing time in the bar at Auberge Du Vieux-Port, Old Montreal / dinner at Stash Cafe with my good friend from Philadelphia, Old Montreal.
Tuesday, October 27, 2015 at 09:08AM 
.... while pursuing this experiment he discovered something else: he discovered that there was a pleasure and a beauty in the fragmenting of time that had little to do what was happening. It had to do with with seeing the momentary patterns of lines and shapes that had been previously concealed within the flux of movement.In yesterday's entry I wrote referred to part of Teju Cole's definition of photography: the selection, out of the flow of time, of a moment to be preserved. A process about which John Szarkowski wrote that, "Immobilizing these thin slices of time has been a continuing source of fascination for the photographer."
Both of those words and ideas from differing authors speak directly and forcefully to me regarding my continuing source of fascination with picture making. However, Szarkowski went on the write about a concept with which I have been pondering / confronting regarding my picture making:
That is to write that if, as I believe, beauty and pleasure can be found in the mundane, the trivial or what some might label as the banal aspect of everyday life, why is it that that I do not, upon seeing "the momentary patterns of lines and shapes that had been previously concealed within the flux of movement", sit and ponder the reality of that which is right there in front of me?
Why is it that the picture I make of that reality holds my attention, interest, appreciation and admiration more than the thing itself? Or, so it seems.
To be certain, I live where I live by desire, intent and design. That fact is due to the fact that I truly and deeply love the place called the Adirondacks: an emotional trait instilled in me early in my childhood - as well as my love and appreciation of the nature world in general - as a result of the experience of summers spent in this place. So, it is fair to say that I picture this place because I appreciate and "admire" it. It is, by no stretch of the imagination, not merely a place which is a target rich environment for picture making.
As I continue to post more pictures from my 1/5 of a second experience, I will also continue to ponder and confront the relationship between my reality and the pictures I make of it.