counter customizable free hit
About This Website

This blog is intended to showcase my pictures or those of other photographers who have moved beyond the pretty picture and for whom photography is more than entertainment - photography that aims at being true, not at being beautiful because what is true is most often beautiful..

>>>> Comments, commentary and lively discussions, re: my writings or any topic germane to the medium and its apparatus, are vigorously encouraged.

Search this site
Recent Topics
Journal Categories
Archives by Month
Subscribe
listed

Photography Directory by PhotoLinks

Powered by Squarespace
Login

BODIES OF WORK ~ PICTURE GALLERIES

  • my new GALLERIES WEBSITE
    ADK PLACES TO SIT / LIFE WITHOUT THE APA / RAIN / THE FORKS / EARLY WORK / TANGLES

BODIES OF WORK ~ BOOK LINKS

In Situ ~ la, la, how the life goes onLife without the APADoorsKitchen SinkRain2014 • Year in ReviewPlace To SitART ~ conveys / transports / reflectsDecay & DisgustSingle WomenPicture WindowsTangles ~ fields of visual energy (10 picture preview) • The Light + BW mini-galleryKitchen Life (gallery) • The Forks ~ there's no place like home (gallery)


Entries in kitchen life (52)

Monday
Nov172014

FYI ~ juried exhibition selection

1044757-25676719-thumbnail.jpg
tray and bowl • click to embiggen

Congratulations!

One of your images has been chosen for the juried exhibition MARVELOUS THINGS: THE ART OF STILL LIFE at PhotoPlace Gallery in Middlebury, Vermont. Juror Aline Smithson chose your image as one of 40 for display in the gallery exhibition. In addition, your work may be viewed on the PhotoPlace Gallery website, and if you so choose, in the full-color exhibition catalog.

The exhibition will be on view at the gallery from January 13 - February 6, 2015. We welcome you, your family, and friends to visit PPG is person!

Check the website for posted results: results. Please, if we have garbled your name or title, let us know so that we may make corrections ASAP.

Tuesday
Oct282014

kitchen life # 60-61 ~ receptiveness of the child

1044757-25595340-thumbnail.jpg
apple with empty bottles • click to embiggen
1044757-25598445-thumbnail.jpg
reflection • click to embiggen

It is part of the photographer's job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveller who enters a strange country. - Bill Brandt

Thursday
Oct162014

diptych # 102 / civilized ku # 2811-14 / ku #1292-93 ~ the other colors of autumn / singing in the rain

1044757-25555387-thumbnail.jpg
alternative fall colors ~ Au Sable Forks, NY - in the Adirondack PARK / Saratoga, NY • click to embiggen
1044757-25555286-thumbnail.jpg
cat's work ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen
1044757-25555368-thumbnail.jpg
in the gloaming ~ Glens Falls, NY • click to embiggen
1044757-25559254-thumbnail.jpg
autumn rain ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen
1044757-25559898-thumbnail.jpg
pre autumn rain ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen
1044757-25559258-thumbnail.jpg
autumn color ~ near Keeseville, NY - in the Adirondack PARK • click to embiggen
1044757-25559260-thumbnail.jpg
leaves on driveway ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen
Every year, at this time of the year, I am reminded of Robert Adams' statement, "... cliché, the ten thousandth camera-club imitation of a picture by Ansel Adams." This regurgitated thought is always instigated by my viewing of the ten thousandth camera-club / calendar-art imitation of a picture of the 'spectacular' colors of autumn.

TO BE PERFECTLY CLEAR, I have no problem whatsoever with those picture makers who traverse the landscape, hither and yon, in search of a picture-perfect romanticized leafy landscape picturing opportunity. If such picturing endeavors turn them on, more power to them in their pursuit of picture making arousal. However, that's just not my idea of a picturing aphrodisiac.

One of the guiding principles of my picture making has been - at least since my epiphany, circa 1979, which came from my involvement in the production of the seminal book, The New Color Photography - can best be summarized by the statement, again by Robert Adams:

One standard, then, for the evaluation of art is the degree to which it gives us a fresh intimation of Form. For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium).

IMO, it is nigh unto impossible to make a picture which is "in some significant respect ... unlike what has preceded it" inasmuch as there is some truth to the notion that everything which can be pictured has been pictured. That is to write, if one heeds Adams statement that "an artist cannot afford to be ignorant of the tradition within his medium" by learning about, in our case, the history and traditions of medium of photography, it becomes very apparent that in a broad referential sense, everything has indeed been pictured.

Which, of course, is not to write that, literally, every thing has been pictured but that, in a general sense, there is very little, if any thing at all, which has not served as the referent (or the implied/meaning) in a picture. Which, of course, does not mean that those same referents (and meanings) can not been seen in a new light, both literally and figuratively.

And that's the challenge ... seeing in a way - your personal way - that, if not significantly different from what came before, without resorting to cheap tricks and/or outright imitation.

FYI, I have my very own personal cliche for fall color picturing which, IMO, is rather different from the standard cliche ... picturing, in situ, the foliage in the rain or near-rain conditions and as seen in the everyday world / environment. IMO, picturing in such conditions produces truly intense / saturated (the leaves are in fact, saturated with moisture) colors - that is color without all those nasty bright sun highlights.

Wednesday
Sep032014

kitchen life # 57 / ku # 1282 ~ everywhere you go there's bound to be a sink

1044757-25396378-thumbnail.jpg
produce ~ Rist Camp / Newcomb, NY - in the Adirondack PARK • click to embiggen
1044757-25397495-thumbnail.jpg
village shoreline ~ Long Lake, NY - in the Adirondack PARK • click to embiggen
Spent some time in Long Lake over the holiday weekend with Hugo and his friend Johnny. It rained on Sunday so the wife and I took them to the Adirondack Museum. On Monday PM the kids flew home in a seaplane (I was the co-pilot). Life goes on at Rist Camp.

FYI, there are more pictures at Rist Camp Diaries

Friday
Jul252014

diptych # 77 ~ the possession of a camera can inspire something akin to lust

1044757-25242403-thumbnail.jpg
lid with coffee / onions in bowl ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen

... the need to photograph everything lies in the very logic of consumption itself. To consume means to burn, to use up - and, therefore the need to be replenished. As we make images and consume them, we need still more images: and still more ... the possession of a camera can inspire something akin to lust. And like all credible forms of lust, it cannot be satisfied: first, because the possibilities of photography are infinite; and, second, because the project is finally self-devouring ... Our oppressive sense of the transience of everything is more acute since the camera gave us the means to "fix" the fleeting moment. we consume images at an ever faster rate and, as Balzac suspected cameras used up layers of the body, images consume reality. Cameras are the antidote and the disease, a means of appropriating reality and a means of making it obsolete. ~ Susan Sontag - The Image World

OK then. While I will buy into the idea that we live in image saturated world, the idea that we live in an image world, a world where reality has been appropriated and made obsolete - via the machine which makes them - by images / imagery, not so much.

Sure, innumerable humans spend significant time playing in a make believe world of images, aka: video games. However, I am not accquainted with anyone who has taken up permanent residence therein or, for that matter, believe that those image worlds are actually real (insane or mental ill excepted). Reality based, perhaps. Realistic, perhaps. Real, not so much.

And, most certainly, in a vast social media world, one which is largely image based, numbers of people beyond measure view billions of pictures everyday - facebook alone admits to 6 billion uploaded / posted pictures a month = 2 billion a day. But to claim that people are consuming those pictures, as in burning them up (destroying), is bit of a stretch. The idea of consuming them, as in absorbing or being engrossed in, can fly with me. And so can the idea that those "consumers" want / have a desire for those images to replenished on a regular, if not hourly, schedule.

But again, that still begs the question, how many of those "consumers" consider those images to be their reality, one in which they reside? Representations of reality, certainly. Living vicariously for a moment or two, certainly. Permanent residence therein, not so much (previous exceptions noted) - but all the gods of heaven and earth help them if they do.

All of that noted, Sontag's point, re: camera possession inspires ... lust (I assume a lust for making pictures) .... if one defines lust as an overpowering desire or craving for making pictures, I find the notion less than credible (compulsive-obsessive disorder excepted). If one defines it as ardent enthusiasm / zest for making pictures, I believe, without reservation, that usage of the word would accurately describe most serious picture makers, myself included.

My ardent enthusiasm / zest for making pictures most likely floats / swims around in the deep end of the pool. Not many days pass during which I do not make a picture. On some days I make many pictures (today's diptych pictures as an example). That written, I do not have an overpowering desire / craving to make those pictures. Far from it - I do not climb out of bed in morning, my aged skeleton emitting creaking and cracking noises, craving to make a picture. The thought of making a picture only occurs to me when my eye and sensibilities see / encounter a picture making opportunity.

And, I can write, with absolute conviction and belief, that the results of those picture making activities in no way replace, diminish, or otherwise compete with my participation in and utter appreciation for living in the real world of actual experiences. That world has not been made "obsolete".

In fact, making pictures, makes me very aware of what's going on all around me, more attuned to the world than I might otherwise be. And, I never let the act of making a picture interfere with the participation in and enjoyment of the moment. I can also unreservedly write that my pictures of life being lived add considerably to my appreciation of life being lived. So, my picture making endeavors, instead of being "self-devouring", are actually quite self-reinforcing, re: a life well lived and well appreciated.

If that's lust, I say, "Bring it on."

Thursday
Jul242014

diptych # 76 ~ appearances

1044757-25237798-thumbnail.jpg
sink / kitchen counter ~ Au Sable Forks, NY - in the Adirondack PARK / Phonecia, NY - in the Catskill PARK • click to embiggen

Freed from the necessity of having to make narrow choices (as painters did) about what images were worth contemplating, because of the rapidity with which cameras recorded anything, photographers made seeing into a new kind of project: as if seeing itself, pursued with sufficient avidity and single-mindedness, could indeed reconcile the claims of truth and the need to find the world beautiful. Once an object of wonder because of its capacity to render faithfully as well as despised at first for its base accuracy, the camera has ended by effecting a tremendous promotion of the value of appearances. Appearances as the camera records them. ~ Susan Sontag - The Heroism of Vision

It would seem, to my mind and sensibilities, that Sontag's consecutive use of the word "appearances" is meant to imply both meanings of that word:

1. the way that someone or something looks.
2. an impression given by someone or something, although this may be misleading.

In essence, that dual-meaning usage succinctly and word-frugally entraps the modernist era debate (and beyond), re: the medium's claim to truth - does/can the medium's capability of rendering reality* realistically also convey truth (or, at the very least, a truth)?

I come at that debate from the school of thought that the medium's inherent / intrinsic characteristic as a cohort of/with the real is; a. what distinguishes it from other visual arts, and, b. what enables a practitioner thereof to make images which represent the appearance of the real which are quite true to that reality. And, in addition to a picture's visual true-ness to that which is illustrated (the referent), that same picture can also convey / illuminate (the implied) a truth (meaning) which transcends the pictures visual truth.

The fact that a picture can also lie / be untruthful / misleading through deceptive - sometimes called "creative" - visual techniques and tricks is somewhat beside the point. Spoken/written words can be truthful, spoken/written words can be untruthful. The existence of neither word-state negates the existence of the other.

In any event, in my picture making endeavors I am drawn to the appearance of things as they are and, in the making of my pictures, I attempt to create visual representations which speak to the truth of what is.

* please park your dance-on-the-head-of-pin notions of reality where the sun don't shine.

Monday
Jun022014

kitchen life # 52 (sink) ~ today, tomorrow and forever

1044757-24978077-thumbnail.jpg
kitchen sink ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen
If it came to pass that a photgraphy deity / demon (depending upon one's point of view) were to fall from the sky and assume the throne /mantle of what's what in the medium of photography and then decree that all serious picture makers must limit their picturing to one single-themed body of work - friends and family snapshots excepted - I would not be especially displeased. After all, I am a man but I can change ... if I have to ... I guess*.

Failure to comply, the decree would also state, would result (to the offender) in the forfeiture of all serious gear which would be replaced by a single small aperture non-focusing film-based plastic toy camera and the loss of one eye.

An additional provision of the decree would stipulate that all of the results of the proscribed and approved picture making could only be displayed as printed works - on hard-copy substrates, in books and the like. All picture sharing sites and services would be shut down and all picture blogs / websites would be limited to lowres minuscule samples and information on where the work could be seen or acquired in printed form.

I, for one, would not be overly wrought by this paradigm. Despite having several bodies of work - 10 at last count, my choice of which one to continue would be fairly easy. With little doubt, it would be my kitchen life series. Although, the deity / demon, being a stickler for precise detail and definition, would most likely limit me to a very singular type of kitchen picture making.

If so, I would again make the easy choice of limiting my picture making to my kitchen sink because ....

1 my kitchen sink is very convenient and ...
2 both the light and the contents thereof are ever changing. Like snowflakes, as the saying goes, no two are ever the same - in the case of my kitchen sink, no 2 kitchen sink events are ever the same and ...
3 the events are never the same because, the contents and arrangements thereof, despite what some may think, are purely random. No effort on my part or that of the wife is ever made in putting stuff in the sink and ...
4 I love the unpredictable happenstance of what may or may not be a pleasing, to my eye and sensibilities, of placement and light and ...

5 most importantly I believe the kitchen sink pictures are truly beautiful. Perhaps the most beautiful of any I have ever made.

That written, re: item 3: I do on occasion add or subtract an item or two to improve the picturing possibilities. Not very often, but, as in today's picture, I added the drain stopper as a visual balancing element. These pictures are, after all, still life pictures - pictures in which the hand of the maker is part of the picturing deal and the art world loves, one might even say "worships", seeing evidence of the hand of the maker. Although, the deity / demon might have more than little to decree, re: the art world as it exists today.

All of that written, if the deity / demon did actually fall from the sky, could you handle the resulting decree? If so, what would be your choice for a single body of work?

As always, comments sought and appreciated.

*The Possum Lodge Man's Prayer from the now discontinued Red Green Show - a very humorous and entertaining Canadian television show. The prayer is not to be confused with the Possum Lodge Oath - Quando omni flunkus, moritati. (when all else fails, play dead).

Wednesday
May072014

triptych # 18 (civilized ku # 2712-13 + kitchen life # 51) / civilized ku # 2714 ~ variety is the spice of life / on being original

1044757-24843312-thumbnail.jpg
A sign of things to come ~ Toronto, CA • click to embiggen
1044757-24843318-thumbnail.jpg
train to NYC / kitchen sink / sidewalk puddle ~ somewhere along the line / Au Sable Forks, NY (itAP) / NYC • click to embiggen
Amongst the rank and file of serious amateur picture makers - for purposes of this discourse let us agree that the desire to find one's own vision is one mark of a of a serious picture maker - the quest to be original and, most often, the frustrations of that pursuit are a commonly shared experience. On that topic, consider this:

Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it. ~ C. S. Lewis

I totally agree with the notion that "bothering" / festering about / being consumed by the desire to be original in one's picture making, aka: your own uniquely personal vision, is essentially one of the prime impediments to actually accomplishing that goal. To coin a hockey analogy (it is the Stanley Cup season), when a player is mired in a goal scoring slump, it is often said that in trying to break out of it they are holding the stick to tight. The solution, they are told, is to relax their grip, don't think about it, and just let it come naturally.

Of course, just relaxing and letting it flow is easier said than done. If it were as easy as falling off a log, we'd be living in a very different world.

That written, when it comes to picture making originality, there is, IMO, an easy fix ... once a picture maker accepts, truly accepts in the depths/core of his/her picture making being, that there is nothing in the world that is not acceptable as a picture making referent, that every thing is fair picture making fodder, then the game of finding one's vision can finally begin.

It never ceases to amaze and confound me that so many a serious amateur who has solved - at least to a much better than average degree of competence - the gear / technique issues, still point his/her camera at referents which are so utterly cliche. It seems to me that in doing so they are, quite simply, "playing it safe". Essentially rejecting 95% of what s/he sees and sticking with what s/he has already seen pictured. Better safe than sorry, seems to be operational dictum.

While it is true that everything that can be pictured has been pictured, the simple truth is that some of those things have been pictured over and over again while others not so much. And, even though it is often stated / written that no one sees the same thing in a exactly the same manner so therefore it is possible to bring one's own unique vision to a familiar referent, way too many picture makers who are trying to hang their hat on that tree end up making the equivalent of what Robert Adams called "the ten-thousandth camera-club imitation of a picture by Ansel Adams" - feel free to substitute the name of any well-known picture maker for that of Sir Ansel.

C. S. Lewis had it right when he wrote, "... if you simply try to tell the truth you will ... become original without ever having noticed it." Without attempting to discern what Lewis meant by "truth", it is my considered opinion that, in the realm of picture making, trying to tell the truth means trying to be true to what one sees and, in that seeing, seeing with eyes wide open. That is to write, wide open to the picturing possibilities which surround one's existence, minute by minute or, in the case of picture making, second by second.

Page 1 ... 2 3 4 5 6 ... 7 Next 8 Entries »