You show me yours, I'll show you mine

When I was a little kid (Hugo, are you listening), I used to play "you-show-me" with my next door neighbor, Ginger Dockweller (same age, different sex), but that's not what I had in mind here.

This is our family"s Xmas card. Did you make one using your photography? (I know Michelle Parent did - thank you Michelle). Will you show me yours? I showed you mine.

publisher's Addendum: Someone who received this card responded with, "SO...Have some liqueur, get merry and go to the hotel and have sex? I like it!" - which only goes to demonstrate the imprecision of the connoted or "meaning" in a photograph.


On the chance that someone out there likes my Xmas triptych, it's available as a signed, numbered (open edition) print - 6x11 inches, ultrachrome ink on Epson Enhanced Matte paper at the Low Low Christmas Season Discount price of only $25.00 US. Shipping not included. Contact me to purchase.

FEATURED COMMENT: see Joe Decker's Xmas card

Brian Chapman & Anil Rao

I recently came back from the southern Washington coast which provided a good opportunity to work with long exposures and water.The first is a long exposure of a winter storm rolling in. The three stripes in the foreground are sets of crashing waves. This night image was taken at the edge of a parking lot with a large tree and a light behind it casting a shadow on the high tide. I normally like to include some static "anchor" in long exposures but as this doesn't have anything that wasn't in motion I consider it more toward the abstract end of the spectrum. As for me (you probably have not heard of me), photography is not my career although I spend much of my spare time working on it in some way or another. Although I shoot completely digital I don't really consider these "converted" images because in my mind they were monochromatic from the beginning. ~ Brian Chapman


I started ballroom dancing last February. Since then, I believe I have been spending more time and energy on this new pursuit than I do making photos. Recently, a good friend asked me if dancing has an effect – positive or negative – on my photography. I don’t remember consciously noticing any connection between the two activities and was therefore pleasantly surprised to find this photograph in my collection....Could my dancing have really played a role in the making of these images? ~ Anil Rao

publisher's comment: I have created a 2-for-the-price-of-one post with Brian and Anil because their submissions appeared nearly simultaneously and both relate to the recent topic of "abstracts", but, IMO, in very different ways.

Most of the recent discussion about "abstracts" has centered around photography that falls into my category of reality-based impressionism and Anil's photograph falls rather neatly into that description. Brian's photograph, on the other hand, has pretty much abandoned the notion of reality-based to create what can certainly be labeled an "abstract" in a more classic painterly sense, although, that shadow of the tree creates an interesting real/not real visual effect/affect - a we're-not-in-Kansas-anymore kind of thing. Please also note that Brian is a digital shooter who "sees" in BW before he photographs, not after).

And Anil - all I can say is, "Keep on 'dancing' "

See more of Brian Chapman's photography here and more of Anil Rao's here

ku # 446 and a personal experience re: "abstracts"

On the topic of "abstracts" - Woven amongst my ku I have a considerable number of "abstracts" such as this one. As noted, I don't really consider them to be "abstracts". I think of them as more of a form of reality-based impressionism. I think this way because I am not just photographing the subject in order for it to function as visual vehicle which creates pleasing visual patterns/design - I am genuinely drawn to the subject in and of itself.

My wife and greatest critic (primarily regarding, but not limited to, photography) has ocassionally taken a less than favorable position regarding many of my reality-based impressionism photographs. I'll be Photoshopping my way along on one of my latest (and certainly greatest ever) reality-based impressionism photographs, and, while in motion as she passes through my office/studio, she will utter, "Not one of your best, dear." Quick on the riposte, I usually utter a low-frequency grunt-like sound.

But, not too long ago, I gained a small measure of satisfaction (because there is no advantage in gaining revenge in a marriage) on this score. I framed and mounted one of my reality-based impressionism photographs on the livingroom wall right in her reading-on-the-couch line of vision. She uttered a low-frequency grunt-like sound.

A few weeks later, as I was passing though the livingroom, she blurted out, "You know, I'm beginning to really like that photograph." Since I was on the move, I didn't pause for any exchange on the reason(s) for the change of visual heart, although, as a harmony-making courtesy, I think I muttered "Good."

I'll have to follow up on that - most probably on our next long car trip when she's belted into the seat next to me with no way out. I find that that is usually the best time to "engage" her in a long-winded discourse on the finer points of photography and art.

Michael Gordon ~ Windblown Grass

Mr. Hobson: my name is Michael Gordon (you may have heard of me). I photograph primarily in b/w, but always in 4x5. I'm no fan either of comments such as "I like the BW effect" and "This would be a good photograph to convert to BW", so I submit to you a genuine made-on-film-and developed-in-pyro photograph of mine for The Landscapist. I believe that good b/w photography is a way of seeing BEFORE the shutter is clicked (or sensor sensed?). I'll submit that *it's too late* if the b/w idea comes as an afterthought to the exposure.

publisher's comment: Who is this guy? Anybody heard of him? Mr. Gordon claims that this photograph along with 3 others of his will be published in the Jan/Feb issue of View Camera magazine. He also stated that the photograph was "scheimflugged for your pleasure" - an obvious attempt to influence the selection committee. It worked.

See more of Mr. Gordon's BW photography

FEATURED COMMENT: Jim Jirka wrote: "Welcome to the Landscapist, Michael..... Wow, you really still use 4x5 film? Your camera must be really big."

urban ku # 15

Tis the season and I want to wish, just like the snowman does, a "Happy Holidays" to one and all. Don't you just love the "room phones" sign above the phone booth, which appears to be a fully functioning (the light even works) example of another disappearing American icon?

FEATURED COMMENT: Michael Gordon wrote: "I'll do you one better, Mark: there's a motel in the Mojave Desert that I frequently pass that advertises "TELEVISIONS" (hoo-wee, boy). I have yet to photograph it, but I will someday."

publisher's response: Sure, sure, but does it have "Air Condition"?

FEATURED COMMENT: Anonymous (the wife) wrote: "The wife also wishes Happy Holidays to the Bloggeristas. Gravitas is really enjoying his visual verbal salon."

FEATURED COMMENT: Mary Dennis wrote: "I'm really comforted by the fact that these places still exist ...Are these relics effectively protected, sort of like living museum pieces, in the Adirondacks?"

publisher's response: I like these places a lot as well, but, no, they are not protected in any way other than by the fact that they are all mom-and-pop owned. Very few mom-and-pop's have the $$$ resources to undertake any sort of large-scale scorched-earth "renovations". It's hard enough for many of them just to do normal upkeep maintaince, especally in the "fringe" areas of the Adirondacks.

The property on which most of these sit is also usually too small for the big players (the chains and highend developers)) to be interested in. So there they sit. Some are doing quite well (depending on location), some are just getting by, and some are sliding into closure and decline. At this point I would speculate that the Villa caters mainly to workers involved in season-long public/private work projects and the "nooner" crowd. Some of their 3-room off-hwy units are probably used as residences for locals.

One way or another, these places will probably be around for a good while longer.

William Biderbost ~ foggy daze

These photos were made at the Chicago Botanic Garden, Glencoe, IL where I was the staff photographer for seven years. After leaving in 2005 I find myself going back to photograph on my own since the moods and ethereal nature of tended gardens can yield some satisfying results. I have been particularly interested in the natural diffusion of foggy days since they bring a dreamier more surreal quality to the pictures.

publisher's comment: I find it interesting that William's photographs arrived accompanied by this statement, "I found your blog after being beaten nearly to death by sand dune and slot canyon
photos..." Interesting because William's obvious reference is to a subset of the many ubiquitous photographic cliches that crowd the landscape photography landscape, but, nevertheless, he has chosen to traffic in another photographic cliche - fog.

BUT, nevertheless, I find that his photographs transcend the fog-cliche due primarily (but not solely) to the fact that he has undertaken the task of exploring in depth the idea of "fog" and its ability to transform a particular type of landscape. Once again, like Mary D with her Fragments, William is working towards creating a series (or body) of photographs united by a common thread/concept - photography at its narrative best.

urban ku # -18,762

Naha, Japan on the island of Okinawa. Why # -18,762? Well, I figure that I have taken at least 18,761 photographs between 1966 when this one was created and 2003 when I first started my ku series.

I have posted this photograph to emphasize that there is no taboo regarding BW photography. None. Zero. Nada. I have also put out an SOS to a few BW practioners I know to come on board. Here's hoping we see something soon. (Hey Thomas M., are you listening?)

In the mean time, I have been pondering the fate of BW photography in the digital age and the first thought that comes to mind is the word "effect". As in the comment repeated over and over on so many photo forums, "I like the BW effect." A comment that has me red-faced and screaming at my monitor, "HEY MORON, BW IS NOT AN EFFECT!!!!" A subset of this comment is the oft-repeated suggestion (upon viewing a color photograph), "This would be a good photograph to convert to BW."

The image that springs to mind is one of a befuddled and bewildered Ansel Adams casting about wondering which effect, color or BW, would be better for "Moonrise". Maybe he might decide to photograph in color because he could always convert to BW later.

Both of these comments have me concerned for the future of BW photography. Certainly there are still (double entendre) photographers who work in the BW genre and who understand the nuances of the medium's films and papers, but, like the photographic materials they work with, they seem to be an ever-diminisihing breed.

Sure, I have seen some BW inkjet prints printed with special BW ink sets that rival, and in some cases surpass, conventional/traditional BW prints. In most cases though, those prints have been made from scanned BW film originals. And, yes, there are PS/Lightroom conversion techniques that can yeld a very nice BW result. So the future isn't entirely bleak.

What happens when film disappears or becomes scarce (and costly)? Will a digital camera maker create a serious BW camera/sensor or in-camera software that allows BW photography to be the intended result?

What do you think?

And on a related topic, this photograph is from a 40 year-old BW negative. Anybody care to comment on the possible fate of 40 year-old digital files?

FYI The canal system on Okinawa, which feeds directly into the East China Sea or the Pacific Ocean (depending on which side of the island you are on), also doubled as the sewer "system". Everyday, when the tide went out (especially during the long hot summers), there was a "baking" effect that created a very pervasive odor. There's nothing I like better than a hot, humid day accented with the smell of "benjo". Although, it was something that I got use to.

FEATURED COMMENT: Brian Champman wrote: "......I know of quite a few digital photographers who focus almost exclusively on black and white (myself included)...".

publisher's disclosure Brian - Thanks for the thoughtful comments, much appreciated as always. I must admit that part of the reason behind this topic is to draw out a few digital-based BWers, and hopefully to be able to arm-twist them into sending a few photo submissions.

Mary Dennis - A Series

On her website - twOeyesOpen - Mary Dennis has a gallery titled Fragments which displays square photographs of enviromental details. Mary has created gallery pages that are visually delightful square groupings of these photographs. I was so struck by the simple and elegant beauty of the photographs and the groupings that I arranged to purchase an entire page which I will display - under a single sheet of glass without a frame - exactly as she has designed the gallery page. My plan is to eventually acquire all the gallery pages.

Many might call Mary's detail photographs "abstracts", but I emphatically disagree - with photography's and, in this case, Mary's, unrelenting and very referent specific connection to the real, I don't see these as "abstract" at all. "Abstracts" are what painters do. Photography that deals with details - unless their referent's realism is radically altered by technique - is exactly what it is, a photograph of the "real". Now, I think that Mary has done a magnificant job of "abstracting" details from their surroundings but I don't see that making them any less "real".

I also think that Mary has done a superb job of conveying the sensations of color without resorting to the sensationalizing of color. By including photographs with generous amounts of neutral color throughout her groupings, the "natural" colors pop off the page without having to resort to Photoshop Velvia-esque saturation settings. To my eye and sensibility, this color at its best.

On another note, I am a sucker for photography series. I believe that photography is at its narrative best when it is presented as a series of photographs that are "united" by a common thread (subject, technique, etc.), but that's a topic for another time.

Nice work Mary.

FEATURED COMMENT: Paul Raphaelson wrote: "...The work that I like always has an element of abstraction. Which doesn't contradict your observation that all photography is also in some way representational...Any time you sense that form is as much a subject of the picture as the subject matter itself, you're noticing an element of abstraction..."

FEATURED COMMENT: Mary Dennis wrote: "I'm glad that the "unrelenting and very referent specific connection to real" is appparent in these images. That was one of the things I wanted to accomplish. I would like people to know what it is they are seeing--just not immediately. I agree that these aren't abstracts but fragments, the little details of the bigger picture I see around me every day."

Steve Durbin ~ "My Adirondacks"

In the spirit of Lisa Gimber's recent submission, here's a representative view of my Adirondacks. There actually would be mountains visible in the picture (this being western Montana), but last September there was often too much smoke from distant forest fires. That also made it more monochrome than usual, which fits how I usually see. Probably less than half of my landscapes involve mountains, anyway.

Hope this submission doesn't violate a taboo on the landscapist; I don't recall seeing anything but color images in my perusals so far.

publisher's comment: No taboo is in effect. There have been only a few B&W submissions to The Landscapist - Timothy Atherton's Immersive Landscapes come to mind.

Also, another note of thanks to Lisa Gimber for her submission and her notion of "My Adirondacks". I like the idea - seconded by Steve Durbin - of seeing photography of other's "Adirondacks". That is, your place on the planet, a place that you hold near and dear. Keep those cards and letters coming.

urban ku # 14 and a (related) tidbit

Dispite (or perhaps because of) a Roamin' Catholic grammar school childhood chocked full with choirboydom and altarboydom (to include the honorable position of Head of the Solemn-High-Mass, Funeral & Wedding Crew) - which might account for my ability to paddle a canoe non-stop for hours in the kneeling position - I am not a religious person, spiritual, yes - religious, no. More and more I find myself yearning for our culture to take a break from life 24/7 and to embrace a return to the concept/spirit - if not actual legislation - of Blue Laws.

Sunday is the core of our civilization, dedicated to thought and reverence. ~ Thoreau