tag:blogger.com,1999:blog-352552952024-03-23T17:48:35.781+00:00the landscapistLandscape Photography That pricks the <b>unThought Known</b> and aims, primarily, at being true, not at being beautiful because, what is true is most often beautiful.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.comBlogger163125tag:blogger.com,1999:blog-35255295.post-14752362159448621942007-01-18T15:05:00.000+00:002007-01-18T15:15:52.009+00:00LISTEN UP<b>THE LANDSCAPIST HAS MOVED</b> to <a href="http://landscapist.squarespace.com"target="_blank"><b>to a new home on SquareSpace</b></a>.<br /><br />The new address is http://landscapist.squarespace.com - please update your links to The Landscapist.<br /><br /><b>The Landscapist on here on blogspot will be maintained as an ARCHIVE</b> - still very much worth your time to explore.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com0tag:blogger.com,1999:blog-35255295.post-43356022888579720882007-01-16T16:56:00.000+00:002008-12-10T02:36:20.618+00:00Please kick the tires<a href="http://1.bp.blogspot.com/_E7gZbHNnoco2sq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEt1PUjfXJnsRiKozscIx6OPaU_JZjYDUX-dX8bwjtiSNGREi5dThPLt4ohznnpo5MTlqVNLHy1ZzrimqfnFabq7O_YZWwlSC0-mcNkwF97Ag1Atzq8UGM1oUeWEYwj4reCZn89Q/s400/rt9sunoco2sq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5020676136389150130" /></a><br />Please check out my test blog on <a href="http://landscapist.squarespace.com/"target="_blank"><b>SquareSpace</b></a> and let me know what you think.<br /><br /><b>FYI</b> - word verification is re-activated. The spam started almost right away. If commenting is inconvenient, please don't blame me or blogspot - it's all because of the <b>f___ing</b> spammers.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Mary Dennis wrote: "<i>I like the look of the square space blog a lot Mark. It's clean looking, (almost like a nice magazine layout) feels compact and logical, links seems to work well and the photos look good too. And no word security gunk. Is it free</i>?"<br /><br /><i><b>publisher's comment</b></i>: Mary's response represents the universal consensus to date. Seems like the way to go. I still have to kick a few more of the tires, but, so far, so good. There are couple of really interesting - as yet unactivated - features that I think you're going to like. How's does a Discussion Forum sound? How about the ability to directly upload photographs to a personal gallery page?<br /><br />And, speaking of questions, to answer Mary's - No, it's not free. I may have to work some overtime in the coal mine, but at least I won't have to go without boots or donuts this winter.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Mary Dennis also wrote: "<i>...hey, isn't there some poetic justice in a "square thinker" ending up in a "square space"</i>?<br /><br /><i><b>publisher's respone</b></i>: It's hip to be square.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com7tag:blogger.com,1999:blog-35255295.post-68812041037298922442007-01-15T18:45:00.000+00:002007-01-15T20:00:36.628+00:00FYIAt Paul Butzi's urging, I have investigated wordpress. For me, it's a no go for 3 reasons; 1) it does not appear to be very Mac OSX friendly, 2) it does not handle photographs well and The Landscapist is about photography and photographs, 3) in my experience with the content creation aspect of blogging software to date, blogspot is the most effortless and intuitive.<br /><br />But, in order to address one of your common blogspot-user complaints, I have disabled the word verification stuff for leaving comments. This means you can type a comment and click "Publish" without that pesky word varification thing. This might also mean that The Landscapist will get hit with spam comments. We'll see.<br /><br />BTW, check out the changes to the Photo Submission guidlines (on the sidebar).gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com3tag:blogger.com,1999:blog-35255295.post-15202695899983757562007-01-15T15:55:00.000+00:002008-12-10T02:36:20.848+00:00ku # 450 - What kind of photographer are you?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieSVsXUUy2dUNDumtNj3YzSGsAo2cqhikGfysFztoIY3ctnab1tHtxzXVb-7b8m0K3pcJ92JYqoRycAaHy7yLQehswUM0mp2GCvJ_UxPcx8bJLgz-HQG3v6XqaIQIvbMNgqYwB8Q/s1600-h/icejamsq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieSVsXUUy2dUNDumtNj3YzSGsAo2cqhikGfysFztoIY3ctnab1tHtxzXVb-7b8m0K3pcJ92JYqoRycAaHy7yLQehswUM0mp2GCvJ_UxPcx8bJLgz-HQG3v6XqaIQIvbMNgqYwB8Q/s400/icejamsq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5020286793308800418" /></a><br /><b>I was nosing around</b>, investigating the notion of <i>reading photographs</i>. Steve Durbin's featured comment on <b>urban ku # 20 and comment on <i>intent</i></b> (see below) was the instigation.<br /><br />My initial area of interest was Roland Barthes' idea of <i>Studium</i> and <i>Punctum</i>. According to Barthes, <i>Studium</i> stands for the general, cultured interest one has in photographs. <i>Punctum</i> is the personal relation, the emotional side. It occurs when one is deeply touched by a picture. Barthes writes, "<i>...it is this element which rises from the scene, shoots out of it like an arrow, and pierces me. A Latin word exists to designate this wound, this prick, this mark made by a pointed instrument: the word suits me all the better in that it also refers to the notion of punctuation, and because the photographs I am speaking of are in effect punctuated, sometimes even speckled with these sensitive points; precisely, these marks, these wounds are so many points ... A photograph's punctum is that accident which pricks me — but also bruises me, is poignant to me.</i>"<br /><br />Barthes goes on to state that photos which exemplify studium appeal on "<i>the order of liking, not loving...I glance through them, I don't recall them...I am interested in them (as I am interested in the world), I do not love them."</i>" I don't know if Barthes ever states directly that he "loves" a photograph that "<i>bruises me, is poignant to me</i>, but he does state that "<i>...While most photographs offer only the identity of an object, those that project a punctum potentially offer the truth of the subject....they challenge us outside any generality...these are the photos which take our breath away...</i>", so I'll go out on a limb here and venture, <i>what's not to love about photographs that meet that criteria</i>?"<br /><br />So, you might ask, what does this have to do with the question <i>what kind of photographer are you</i>? Well, maybe nothing...but, while I was nosing around I also came across this - from <a href ="http://www.icce.rug.nl/~soundscapes/VOLUME07/Reading_photographs.shtml"target="_bland"><i>Reading Photographs</i></a> by Hans Durrer :<br /><br /><i>..to judge photographs by the — perceived — sincerity of the photographer (intent?) is highly problematic. Ansel Adams, who refers to photographers as artists, points out: 'Some of the worst artists, after all, are the most sincere... the only things that distinguish the photographer from everybody else are his pictures,' he should be judged by them, he argues, because 'major art, by definition, can stand independent of its maker'".<br /><br />It is not without significance that Adams is referring here to the concept of 'beauty in photography', so the title of his book, and as far as the aesthetics of form is concerned, one cannot but agree with him. <b>Documentary</b> (photography), however, is not only about form, which is exactly why sincerity and biography do matter. As Stott says: 'The heart of documentary is not form or style or medium, but always content.' Furthermore, documentarists stress feelings, '... they believe that a fact to be true and important must be felt.' This is not to say that form in documentary is without relevance, this is only to say that documentary aims, primarily, at being true, not at being beautiful. Yet what is true is often beautiful.</i>"<br /><br />From that I infer (and believe - always have, always will) that <i>intent matters</i>. Point In fact, I believe that it matters very much. Almost to the point that I believe it is a photographers (artist's) <i>responsibility</i> to state his intentions.<br /><br />That said, the question that came to my mind after reading this excerpt was, "Am I a <i>documentary</i> photographer"?<br /><br />I tend to think of myself as a <b>Fine Art Landscape Photographer</b>, although I have not ever really been comfortable with the phrase "fine art". At various times in my commercial life I have randomly functioned as a Still Life Photographer, a Fashion Photographer, a Corporate Communications Photographer, and, yes, a Documentary/Journalism Photographer (periodical feature/editorial type, not news).<br /><br />Now, I know that some could care less what <i>kind</i> of photographer they are. They are just <i>photographers</i>. OK, but I think giving yourself a well thought out label, just like writng a well thought out Artist's Statement (statement of intent) is an important part of self-knowing. The only problem I have in this regard is finding the right word to use as my label. The more I think about it, the more I realize that none of the "classic" labels fit. Mostly, I feel like an <i>observationist</i>.<br /><br />But, when I encountered the ideas that "<i>The heart of documentary is not form or style or medium, but always content.</i>" and "<i>...that documentary aims, primarily, at being true, not at being beautiful.</i>, and the absolute deal-clincher. "<i><b>Yet what is true is often beautiful.</b></i>", I must admit that the label, Doumentary Photographer, starts to sound and feel pretty good.<br /><br />What kind of photographer are you?gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com3tag:blogger.com,1999:blog-35255295.post-36339698189952235952007-01-15T14:50:00.000+00:002008-12-10T02:36:21.053+00:00ku # 449<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIvddwF443dMgDBtCVKKL1bFs-7ixA5FwN8Vvp0Q1lKgY-kgcDQg45PhUwq7jmvK5M24ID4R9f7kPJiSXv6zVAqkraWbN3zcK8SGjenWrbl4Kmo77wmBH7Cxce7MRcotXhMcnVw/s1600-h/finallysq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIvddwF443dMgDBtCVKKL1bFs-7ixA5FwN8Vvp0Q1lKgY-kgcDQg45PhUwq7jmvK5M24ID4R9f7kPJiSXv6zVAqkraWbN3zcK8SGjenWrbl4Kmo77wmBH7Cxce7MRcotXhMcnVw/s400/finallysq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5020270055821247890" /></a><br /><b>Finally</b> Up to 10 inches forecast for today <i>and</i> a protracted cold spell to back it up (-7F tomorrow night). Time to tune up the xc skis/snowshoes and haul out the winter mountaineering camping gear.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com0tag:blogger.com,1999:blog-35255295.post-14128653526628621732007-01-14T16:11:00.000+00:002008-12-10T02:36:21.214+00:00urban ku # 20 and a comment on intent<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIz8fBq7gVr5EHmQ5qLOT5KnaUJRxVrLCcwJIrMuU31IOamf4GKFdmFkNe1Wi0HJ9vk0ms5ByPu1K6okKXcRyupDLmdMeYNlMDgsYsT10HUokjqC_4vBtyDcLTftV8Hn-6sYt0wA/s1600-h/villapoolsqs.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIz8fBq7gVr5EHmQ5qLOT5KnaUJRxVrLCcwJIrMuU31IOamf4GKFdmFkNe1Wi0HJ9vk0ms5ByPu1K6okKXcRyupDLmdMeYNlMDgsYsT10HUokjqC_4vBtyDcLTftV8Hn-6sYt0wA/s400/villapoolsqs.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019919655209371010" /></a><br /><b>Intent</b> - The notion of photographic intent was raised by several of you in comments about the Prakarsa/McIntosh comparo. I think that McIntosh's intent is clear and straight forward - drawing attention to the plight of the impoverished/exploited and ultimately to the roots of that poverty/exploitation. Prakarsa's intent is not so clear and some wanted to reserve judgement until more could be learned.<br /><br />IMO - I have always believed myths, fairy tales, story telling, etc., to be very valuable in passing on ideas, traditions and values from one generation to the next or, for that matter, from one tribe/culture to another. Their intrinsic beauty is that they function on several levels. Like good photography (Art), on the obvious surface of things (like the referent in photographs) they can be/are seductive and entertaining, but of course they also contain "hidden" value as well (the connoted). To my way of thinking, they are both <b>illustrative</b> <i>and</i> <b>illuminating</b> - the 2 qualities that I think are to be found in Art (but not in art). I also believe that these qualities are found in Art because the artist <i>intended</i> to have them there.<br /><br />I bring up the notion of myths, fairy tales and story telling in this context because I have discovered another Indonesian photographer, Andi Hermawan, whose <a href ="http://www.myfourthirds.com/user.php?id=3007&page=user_images"target="_blank">photography</a> of Indonesian children is nearly identical (albeit not as technically accomplished) to that of Prakarsa. <br /><br />Interesting.<br /><br />The question that comes to mind is this - unless Hermawan is nothing more than a Prakasrsa wannabe, is there something in Indonesian tradition, myth, culture about children that we should know about before passing judgement here?<br /><br />To that point, <b>Ott I-don't-even-like-roses-that-much Luuk</b> asked (although not expressing himself with anything close to my eloquence and erudition), "...<i> (as) For mistaking them for real - does everyone who takes photos in the Far East really have to fight the ignorance of the western man"</i>?<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Steve Durbin wrote (in part): "<i>...The question of intent is fascinating on a human level and certainly would inform our judgment of the photographer. Anything we know about intent is also likely to affect our judgment of the photos. But the overwhelming factor in my reaction to an image is the image itself, and how it relates to my own experience, aspirations, etc. Intent was important in making the image what it is, but from there it's just pixels until my mind engages it.</i>:"gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com2tag:blogger.com,1999:blog-35255295.post-17429412732049917112007-01-12T22:03:00.000+00:002008-12-10T02:36:22.322+00:00Jonathan McIntosh ~ a different kind of Jakarta landscape<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjghc9GdoLDCABWnDN-i_5R9ioz_HNSBlZd9co7UcuC2h3Rm1UBfg6bUka2J5WsuSXAlgDlud1upT5c8mpAT2V9p2RtgYkjEuhdAKmgnocml3VXEj7Z97PXsq_VcySzipXEZSdoag/s1600-h/800px-Jakarta_slumlife71.JPG.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjghc9GdoLDCABWnDN-i_5R9ioz_HNSBlZd9co7UcuC2h3Rm1UBfg6bUka2J5WsuSXAlgDlud1upT5c8mpAT2V9p2RtgYkjEuhdAKmgnocml3VXEj7Z97PXsq_VcySzipXEZSdoag/s400/800px-Jakarta_slumlife71.JPG.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019268834520040802" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AyEUqYpFrh2wj73_1H0ZqBmkj0HuvVYmygdO-3qp1109hFhc4vgprxWelhWzCySpA6S7OwkIo0m93pOFhKaQy6wYQvsg11-YUOgVz09tQaeRhR2Wq1v8KskdZe62EsL-wC31QA/s1600-h/800px-Jakarta_slumlife2.JPG.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AyEUqYpFrh2wj73_1H0ZqBmkj0HuvVYmygdO-3qp1109hFhc4vgprxWelhWzCySpA6S7OwkIo0m93pOFhKaQy6wYQvsg11-YUOgVz09tQaeRhR2Wq1v8KskdZe62EsL-wC31QA/s400/800px-Jakarta_slumlife2.JPG.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019269062153307506" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiKFJAORTteoSrTSaBNtOSPiZ0_qOouHfwLMFmzM2oxaAsOB2vuDKpbX_d8fso4BeOdhQn3ubQCg396paV1P9GZ_OcurZzZsnj7zAhatanONuY5qBZtfUGdIM1ucepF2kVAJiFyA/s1600-h/800px-Jakarta_old_football.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiKFJAORTteoSrTSaBNtOSPiZ0_qOouHfwLMFmzM2oxaAsOB2vuDKpbX_d8fso4BeOdhQn3ubQCg396paV1P9GZ_OcurZzZsnj7zAhatanONuY5qBZtfUGdIM1ucepF2kVAJiFyA/s400/800px-Jakarta_old_football.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019268392138409298" /></a><br /><b>Jonathan McIntosh is an digital-media artist,</b> social justice activist, photographer and Indymeida journalist living in the Boston/Roxbury area. I found these photographs when I was looking for some info about Jakarta. My curiosity was picqued after posting Rarindra Prakarsa's photographs. <br /><br />Apparently life for children in Jakarta is not all skittles and cream as Rarindra's photographs might have us believe.<br /><br />I'll have a bit more to write about this in an addendum to this post over the weekend. An in-law from NJ with a car load of kids is due very soon, so I don't have time right now. While they're all out skiing tomorrow I'll write my peace/piece. Feel free to chime in any time.<br /><br />FYI, I haven't had any contact with Jonathan Roxbury. I downloaded and posted his photographs under a Creative Commons attribution license. See more of his photography from <a href="http://capedmaskedandarmed.com/photo/garbagering/index.html"target="_blank"><b>The Garbage Ring - Jakarta Indonesia</b></a><br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Jim Jirka wrote: "<i>So in seeing this and Rarindra's images, would you then consider the former to be "ecoporn" of a different type</i>?"<br /><br /><i><b>publisher's response</b></i>: Jim, my first response is somewhere between rage/anger and the calm cool collectedness it will take to write a 10,000 word response. I am going to try to contact Rarindra again and get a fix on his "intent" although I'm not certain how much that really matters.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Joel Truckenbrod wrote: "<i>It's clear that our concept of "poverty" in the U.S. exists in another realm from what these people experience everyday. I am humbled and am not quite sure what else to say.</i>"<br /><br /><i><b>publisher's response</b></i>: I am humbled as well - and angered (not at Jim J.) at a world that <i>allows</i> this to exist) and I am also struggling with "what to say". It seems somehow....well....not "wrong", but not "right" either to natter and blather about notions and ideas regarding the medium of photography.<br /><br />To speak to Joel's reaction of not knowing what to say, I find it nearly impossible to view McIntosh's photographs as photographs in any of the ways in which photographers often view photographs - these photographs do not seem to have "composition", "quality of light", or any of the other photographic trappings we commonly employ. Both the referent (the object of the camera's gaze) and the connoted are so powerful that any "things-photographic" thoughts are simply obliterated. <br /><br />As <b>Mary Dennis</b> opined, "...<i>The power of imagery is truly awesome, is it not</i>?<br /><br /><b>Ott Luuk's</b> comments (not too harsh at all) spoke to Jim Jirka's question of truth vs beauty. Ott stated/asked, "<i>My guess is that Rarindra`s photography is just a form of escapism, knowingly creating a blissful dreamworld to hang on the wall for those times you really don`t want to look out of the window....should I be scorned about growing a nice garden with roses and stuff around my house when my country`s forests are being cut down for quick profit...</i>?<br /><br />I would asnwer that question by stating that it's all very much a matter of <i>intent</i>. If, along with some roses, you also planted your head in the dirt - ostrich-and-sand-wise, I'd say that, yes, you should be scorned. Is that what Rarindra is doing? I don't know for certain, but, in the absence of any statement of intent otherwise....<br /><br />Rarindra has a very broad presence on the www. I can find nothing about his intent other than his statement to me - "<i>You should visit my beautiful country someday."</i>, which is usually accompanied by a statement about the "millions" of beautiful places and "objects" available to be photographed. He seems to love and take great pride in his country.<br /><br />Sure. OK. Fine. But, if Rarindra had offered even just a hint that his fanciful photographs spoke to the "innocence lost" in the face of the horrid human degradation that exists in his beloved country, I might not be inclined to venture that <b>Rarindra's photographs are a very fine example of fiddling while Rome burns</b>.<br /><br />Or, to put it an <i>American</i> context, how would you feel about idyllic and fanciful photographs of black children frolicking carefree in Elysian Fields as representative of <i>our</i> "beautiful" country?gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com12tag:blogger.com,1999:blog-35255295.post-26803904063018832862007-01-12T13:23:00.000+00:002008-12-10T02:36:22.634+00:00urban ku # 19<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3qXQYEkzbD3sg1ZeCqIhUvxSbm7nrFex_U_5zQhNeRw8-UmGbxmTKdnQ21eBwrFDNdXW1fbg9Xny2PVEHFddDUznUqzxmB1n4WACyG5JzAR0tVAsbws5Q_UG31v7c0ftal63rw/s1600-h/sprucemotelsq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3qXQYEkzbD3sg1ZeCqIhUvxSbm7nrFex_U_5zQhNeRw8-UmGbxmTKdnQ21eBwrFDNdXW1fbg9Xny2PVEHFddDUznUqzxmB1n4WACyG5JzAR0tVAsbws5Q_UG31v7c0ftal63rw/s400/sprucemotelsq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019134380568839490" /></a><br /><b>The Blue Spruce Motel</b> on Rt. 9N near Au Sable Chasm. I think The Blue Spruce is a seasonal motel but I am not certain about that. It's just down the road from Au Sable Chasm and I imagine that many tourists who stayed here stopped by Clare & Carl's for a Michigan.<br /><br />I absolutely postively love the fact that a really big <i>real</i> blue spruce in the coutyard wasn't enough to convey the idea of "blue spruce" (although the real blue spruce certainly was much smaller when the place was built than it is now). They just had to add that funky man-made one as well. Don't you just wish that someone would open a really big - a couple acres or so - museum of authentic 50's roadside neon signs?gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com2tag:blogger.com,1999:blog-35255295.post-32742933667922710782007-01-12T13:04:00.000+00:002008-12-10T02:36:22.772+00:00urban ku # 18<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFB8evLDnTMwitSLEr20227ZQS3c44gam5A4gEsK8jbIkbSFLoSGAC2XMoQKY3tcXdZU4ayYc_6bw9oaKul2BpLDKNTMGZi8egHoIIAZmfjSz-923O0hEpSwJXpxBUYTV3YtW8QQ/s1600-h/clarencarlssq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFB8evLDnTMwitSLEr20227ZQS3c44gam5A4gEsK8jbIkbSFLoSGAC2XMoQKY3tcXdZU4ayYc_6bw9oaKul2BpLDKNTMGZi8egHoIIAZmfjSz-923O0hEpSwJXpxBUYTV3YtW8QQ/s400/clarencarlssq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5019129402701743410" /></a><br /><b>Another "decaying" Mom & Pop</b> establishment along Rt. 9N. just south of Plattsburgh, NY. Although, in this case, it's a thriving landmark business during the spring/summer/fall season. And, believe it or not, the camera was dead level - Clare and Carl's is an authentic architectual fun house.<br /><br />Around these parts Clare & Carl's is known as the in-place to go for the finest <a href="http://en.wikipedia.org/wiki/Michigan_hot_dog"target="_blank">Michigan hot dogs</a> or a "Michigan", as they are commonly called. A Michigan is a steamed hot dog on a bun smothered in a meat sauce, onions opptional. The name "Michigan" originated in Plattsburgh, NY around 1927 at place called Nitzi's, which was also on Rt.9. Clare & Carl's dates from 1942. It's kind of odd that, even though you can get a meat sauce smothered hot dog in Michigan (the state), nobody there knows what a "Michigan" is.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com1tag:blogger.com,1999:blog-35255295.post-17814472199558479332007-01-11T15:51:00.000+00:002007-01-12T16:30:53.634+00:00re: comments and paricipation<b>yesterday, Mary Dennis wrote (in part</b>): "<i>...I know this may seem like a quiet place to you but...I hope you continue to post.</i>"<br /><br />It may have seemed that I was whining about the lack of comments (ok, you got me on that one) but let me explain.<br /><br />My hope for The Landscapist is that it will take on some of the characteristics connonated in various parables - <i>casting bread upon the water, loaves and fishes, sowing seeds</i> - found in the Bible (I should note here that Bertrand Russell's <i>Why I Am Not A Christian</i> is one of my favorite essays/books). I interpret those parables as stories about <i>synergy</i> - small actions that reverberates beyond their modest beginnings, or, something that is greater than the sum of its parts.<br /><br />In my dreams and visions, I see The Landscapist something like this - acting in my role as a photography-disciple, I sow seeds about photography on the waters of the www, where, thanks to the fertilizing efforts (comments and participation) of the multitude (you guys), the seeds sprout into life with many branches, leaves and fruit. In the resultant harvest of the nearly embrassing abundance of nourishment and riches, many of the multitude find their way to their own personal photographic heaven.<br /><br />There you have it. It's simple enough, it's a two-way street.<br /><br />So, please send your tributes and donations to: The Right Reverend Hobson, Church Under the Bridge Building Fund, Au Sable Forks, NY. OR, if you prefer, operators are standing by at our toll-free number, 1.EGO.IST.ICAL. All major credit cards accepted. Thank you.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Jim Jirka wrote (in part): "<i>...when I send my donation to the Rev Hobson, will I get that holy lucky charm as a gift of your appreciation</i>?<br /><br /><i><b>publisher's comment</b></i>: "No comment"gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com4tag:blogger.com,1999:blog-35255295.post-59254165791187498952007-01-11T15:22:00.000+00:002007-01-11T17:13:07.944+00:00re: Photo Submissions<b>photocapcod wrote (in part</b>): "<i>If you ask for submissions, you should be posting them. If you don't intend to post the other people's photographs, don't ask for them....</i>"<br /><br /><b>Steve Durbin wrote (in part):</b> "<i>I like seeing other photographers here, but I think the curatorial function is important....</i>"<br /><br />Let me clarify. I do want photo submissions. I do intent to publish <i>as many of them as I (<b>the curator</b>) judge to be either pertinent to topics at hand or feasible - feasible, as in, I can't possibly publish them all</i>.<br /><br />Please remember that this is a <i>personal</i> blog about photography, not a post-at-will photo forum. As today's post of Rarindra Prakarsa's photographs demonstrates, the blog is not all about <i>my</i> photography. It is indeed about the photography of others as well. However, like a magazine publisher/editor, I reserve the right to <i>edit</i> content.<br /><br />Re: content - While I certainly draw attention to particular photographers and photographs, the photographs that I am most interested in are those that, whatever their referent/connoted (content/form) merits may be, draw attention to <i>issues and ideas</i> about the medium of photography (and by extension, Art) itself. <br /><br />So, please continue to keep the cards and letters coming...BUT...if offense will be taken or ill-will engendered if photographs aren't published, perhaps it is better all the way around not to send submissions.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com3tag:blogger.com,1999:blog-35255295.post-8751470198924876462007-01-11T13:21:00.000+00:002008-12-10T02:36:23.384+00:00Rarindra Prakarsa<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLxa_ZUBJCZg6a2jYDErnq0nB_VOupx_-m6_HB7oleow19zmysO6MeLtVZamRNefDKJLEfIW4XeDL5UXBRjH7FBds4MFuMgGuHXPWTxgetGNmrLN-BM4Ek_XbH9_t_DA6sOXTJdA/s1600-h/4933740-lg.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLxa_ZUBJCZg6a2jYDErnq0nB_VOupx_-m6_HB7oleow19zmysO6MeLtVZamRNefDKJLEfIW4XeDL5UXBRjH7FBds4MFuMgGuHXPWTxgetGNmrLN-BM4Ek_XbH9_t_DA6sOXTJdA/s400/4933740-lg.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018763840855311650" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9T_7jgxyzLA97wMKhOQ0Vn0QrfSn3I63FdqesZjRYZC3qqPPTsl9AI-K3ErGlAb1iIaxtfDETW7dKYn_03YV6Kva8s2vwUOvxGpIDlDXCIoNPPlpHB1uA04vd-Gmu70Vmdawwg/s1600-h/5247309-lg.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9T_7jgxyzLA97wMKhOQ0Vn0QrfSn3I63FdqesZjRYZC3qqPPTsl9AI-K3ErGlAb1iIaxtfDETW7dKYn_03YV6Kva8s2vwUOvxGpIDlDXCIoNPPlpHB1uA04vd-Gmu70Vmdawwg/s400/5247309-lg.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018763484373026066" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQJcAig8_9RDy3lyIkiX3I-xCd-jcXGaca7RArsgbujX6RZpoQV6AanfkVi4eHay5-vLDX5orbjo3NhjkHOBt61YP0uXy3q-d4oInpf9bnQuVqf_kXCGoeaZtqFoBQ7O1M2BNkA/s1600-h/5371393-lg.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQJcAig8_9RDy3lyIkiX3I-xCd-jcXGaca7RArsgbujX6RZpoQV6AanfkVi4eHay5-vLDX5orbjo3NhjkHOBt61YP0uXy3q-d4oInpf9bnQuVqf_kXCGoeaZtqFoBQ7O1M2BNkA/s400/5371393-lg.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018763145070609666" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkU5miF6HqZ8ZfBU9T6LduiJrI7FRBwRSmtl_RIb-Ekdfd_7XpsBaICRBbS6Fk3q5RQlbFg2cfeiN48bLHlu4neYNQ7fxo4sX6e8G78K0HscXbK1bKW61gW8Bnryn4MaD-7-5paw/s1600-h/5430762-lg.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkU5miF6HqZ8ZfBU9T6LduiJrI7FRBwRSmtl_RIb-Ekdfd_7XpsBaICRBbS6Fk3q5RQlbFg2cfeiN48bLHlu4neYNQ7fxo4sX6e8G78K0HscXbK1bKW61gW8Bnryn4MaD-7-5paw/s400/5430762-lg.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018762943207146738" /></a><br /><b>I am from Jakarta, Indonesia</b>. A country with million place and object to photograph. A beautiful country indeed. Now, I am a semi-pro photographer, enjoying my job/hobby & selling my stock-photo. Photographing since 1995.<br /><br /><b>As many of you </b> already know, I am NOT a fan of sentimental tripe photography-wise. I find the legions of drama-queen landscape/nature photographers, who spew out endless reams of images of a world made up of never-ending golden light vistas, to be a particulary unimaginative and contemptible lot of <a href="http://www.utne.com/issues/2004_125/features/11341-1.html"target="_blank"><i><b>eco-pornographers</b></i></a>. My issue with them is not with their style of photography per se, but rather with what I (and many others) believe to be the <i>detrimental</i> effect that their photography has on conservation and the evironmental cause - "<b>...picture-book nature, scenic and sublime, praiseworthy but not battle-worthy. Tarted up into perfectly circumscribed simulations of the wild, these props of mainstream environmentalism serve as surrogates for real engagement with wilderness, the way porn models serve as surrogates for real women. They are placebos substituting for triage.</b>" - <i>Lydia Millet, High Country News</i> (the eco-pornographer link goes to the complete article).<br /><br />But, back to Rarindra Prakarsa's photographs. When I first encountered these photographs in his <a href="http://www.photo.net/photodb/member-photos?user_id=2231437&include=all"target="_blank"><b>portfolio on photo.net</b></a>, I got all flustered and flummoxed. I'm not suppose to like this stuff - altered and romanticized landscapes littered with incessantly picture-book perfect children. Yikes!! How many cliches can you cram in a single photograph?<br /><br />But, so help me, like the proverbial car wreck scene, I couldn't stop looking. And looking. And looking.<br /><br />So, I emailed Rarindra and asked, <i>...what is your artistic intent with these photographs</i>? The response - "<i>Thank you for enjoying my pictures. You should visit my beautiful country someday.</i>" - really didn't answer the question other than to reinforce the initial impression created by his photographs that his country is beautiful.<br /><br />He did give me permission to post them on The Landscapist, so here they are. I think they are pertinent because, take out the kiddies, they are classic landscape photographs albeit in a rather romanticized genre. With the kiddies they become something else...<br /><br />I am beginning to see them as a sort of children's fable in the style of the illustrator Chris Van Allsburg's <a href="http://www.chrisvanallsburg.com/harrisburdick2.html"target="_blank"><b>The Mysteries of Harris Burdick</b></a> and <a href="http://www.chrisvanallsburg.com/polarexpress.html"target="_blank"><b>The Polar Express</b></a> (especially his style as adapted for the <a href="http://polarexpressmovie.warnerbros.com/media_trailer.html"target="_blank"><b>movie</b></a>). As in many of Van Allsburg's illustrations, in Rarindra's photographs much is left to the observer's imagination to fill in the "blanks". For me, there is a sense of mystery about them. I am drawn into a world that's a little off-kilter where something's going on that I can't quite grasp and, for some reason that I can't quite express yet, they seem to be something more than just sentimental idyllics.<br /><br />For all I know, maybe Rarindra's intent with these photographs is nothing more than an attempt to create hyper-Kodak/Hallmark moments. Perhaps because of language issues, he didn't really respond to my question about intent. <br /><br />Nevertheless, I am very eager to hear your thoughts on these photographs.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com9tag:blogger.com,1999:blog-35255295.post-59938882623159080082007-01-10T16:59:00.000+00:002007-01-10T17:34:25.776+00:00FYI<b>I haven't posted many</b> photo submissions of late. That is not due the fact that there haven't been any. To the contrary, there have been a fair number of them. It is due, in part, to the fact that I am trying of late to post photographs which are pertinent to the topic at hand. It is also due, in part, to the fact that I published <a href="http://landscapists.blogspot.com/search?q=Brian+Chapman"target="_blank">a few</a> during the holidays that were virtually ignored, or, at least, not commented on (due, no doubt, to a drop in the number of visitors during the holidays).<br /><br />Of course, it could also have been that you all just didn't like them or think that they fit The Landscapist motif. But, on the topic of "I didn't like it", I would like to note that <b>The Landscapist does NOT subscribe to the adage, "If you don't have anything good to say, say nothing at all."</b> Please feel free to blast away (hopefully in an agreeable manner).<br /><br />I am giving thought to publishing a smorgagbord post of photo submissions. Any thoughts on that?gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com2tag:blogger.com,1999:blog-35255295.post-75997870155473500202007-01-10T16:38:00.000+00:002008-12-10T02:36:23.534+00:00Dormant # 37 ~ Aaron Hobson<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxPXffbfPmIznBHF7y1H8Cz9Esj0sYCz-4YclltdQeq4Nd6TvDA552N3AJsc_00jTZZvAzFMMrtBTbLbyU-LwQztulB5rSbHKQsK-TY8pNy7HFX9KxwamO6_vA23nm2XLOJlyzMw/s1600-h/dormant37.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxPXffbfPmIznBHF7y1H8Cz9Esj0sYCz-4YclltdQeq4Nd6TvDA552N3AJsc_00jTZZvAzFMMrtBTbLbyU-LwQztulB5rSbHKQsK-TY8pNy7HFX9KxwamO6_vA23nm2XLOJlyzMw/s400/dormant37.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018442585891505378" /></a><br /><b>On the topic of </b> increasing comments/participation, one should never underestimate the adage that "sex sells". My son recently discovered the wisdom of that time-tested-and-proven hook on his flickr group, <a href="http://www.flickr.com/groups/deathscapes/"target="_blank"><b>Deathscapes</b></a>. His photos normally garner about 30 views a day and around 5/6 comments total...but...put the word "sex" in the tags and whammo - 147 views/13 comments in 12 hours.<br /><br />I don't know where he gets that kind of behavior from (must be his mother- my ex) because I, of course, would never stoop to posting a sexually suggestive photograph on The Landscapist.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Mary Dennis wrote (re: making comments on The Landscapist): "<i>...I'm uneasy with fact that I can't edit or delete my comments if I were to choose to....Those letter security things drive me crazy.... I like interesting and thoughtful conversation as much as anybody but the internet has never really tripped my trigger in that regard. I try but somehow something seems to be missing from the dynamic.</i>"<br /><br /><i><b>publisher's response</b></i>: First and foremost, thanks very much for your continued participation and expression of appreciation for The Landscapist. That said, you bring up some good points about commenting on blogspot.com in particular and the internet in general.<br /><br />You can delete a comment at any time - look for the little trash can on the bottom of your comment. The security thing is a pain for me as well but it does prevent spamming. Other blog services have different ways of dealing with spamming but it seems that they all require some form of manual input from the commenter.<br /><br />Regarding the internet dynamic, I tend to agree. Face-to-face conversation is the best. Phone conversation would be next best on my list and Internet talk falls below either of those...BUT...we are "talking" across a great distance and we're not running up a big phone bill. I also like the fact, like in a group face-to-face, that others can jump into the conversation and add their 2 cents. There is something to be said for that.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Jim Jirka wrote : "<i>...I like the image a lot. To me it is not a question of sex, but I can understand the connotations. I like it more for the dramatic interplay of light and shadow which to me makes the image 'sexy'.</i>"gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com4tag:blogger.com,1999:blog-35255295.post-90893311476151112522007-01-10T14:09:00.000+00:002008-12-10T02:36:23.658+00:00dis-ease # 3 and a comment about "soup"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOhn4ENOWCTCtmwHmxCbk70DaPcaEx1OOqf-q0DIk_g1BPG0Z1A_cJ0byzek1E0pEqUjOrtWTlnAoaIdiV4Gy3-dYftsVFDoxV3Z3khnaasDlpFnYtSiozAS5coy-lfQiB4bXM6A/s1600-h/snow.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOhn4ENOWCTCtmwHmxCbk70DaPcaEx1OOqf-q0DIk_g1BPG0Z1A_cJ0byzek1E0pEqUjOrtWTlnAoaIdiV4Gy3-dYftsVFDoxV3Z3khnaasDlpFnYtSiozAS5coy-lfQiB4bXM6A/s400/snow.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018414556934931666" /></a><br /><b>Winter is trying</b> to make an appearance, lame though it might be. There's nothing of consequence in the forecast.<br /><br /><b>You may have noticed</b> that my last few posts have had Polaroid photographs attached. The reason for this is simple - in my fevered state to <a href="http://landscapists.blogspot.com/2007/01/urban-landscape.html"target="_blank"><b>taste a new flavor</b></a> I hauled out the Polaroid SLRs, purchased some film, and started to photograph. Much to my surprise, I discovered how much I had forgotten about, a) the good old days of analog photography, and b) the magic and addiction of Polaroid photography.<br /><br />Now I am well aware of the dangers of advancing decrepitude. I try like hell not to use phrases like, "...back when I was a (insert a younger age)..." or "...barefoot in the snow, uphill both ways..." and so on....but....back when I was a photo rookie, I processed and printed the very first roll of film I ever used. Film processing seemed rather mechanical and uninsipiring, after all, everything happened in complete darkness or in the can. You got the developer to temperature, watched the clock (timer) and agitated on schedule. Ho hum. Important for sure, but still, ho hum.<br /><br />Then came the fun part - making a print and those moments of magic watching the image appear while the paper was in the soup. It really was like magic. First there was nothing on the paper, and then, ever so slowly, as if by magic, an image starts to appear - faint at first, but, as the paper sloshes around with more rocking of the developer tray, hot damn, a picture comes to life.<br /><br /><b>There is nothing, absolutely nothing, in the digital domain that comes close to replicating that magic, nothing</b>. If you haven't experienced it, you should. Go to whatever lengths you must, but do it. IMO, you really don't know the magic of photography until you do.<br /><br />The only substitute photographic experience that I know of that, in a small way, replicates the magic of watching an image emerge in the soup is Polaroid photography. Press the shutter and out comes a print on which an image slowly emerges as it develops. Sure, you miss out on the joy inhaling noxious brain-deadening chemicals, but it's a bit of the old magic nevertheless.<br /><br />This point was driven home recently when my 2 year old grandson, Hugo, who has his <i>own</i> 6mp digital camera (<a href="http://www.flickr.com/photos/hugovaughn/"target="_blank"><b>see some of his photos here</b></a>), watched with a great deal of fascination as a Polaroid image slowly emerged on a print in his hands. He was very intrigued to, as he put it, "see what happens". <br /><br />So, if you haven't done and can't do the wet darkroom thing, you really do owe it to yourself to pick up a Polaroid camera - used SLRs on ebay - and experience the magic of "seeing what happens". If you do, just beware of the Polaroid Addiction thing - once the Polaroid was fully developed, Hugo's next words were, "more, Papa".<br /><br />Easy for him to say, since he's not shelling out a buck a pop.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Mary Dennis wrote: "<i>...you are so right about the magic of the wet darkroom. And not only because of the magic of watching an image emerge in the developer tray. When my two daughters where really little, about one and five years old, I built a little darkroom in the corner of our musty old basement and it became a cave, a quiet refuge for me when life got crazy. That was my magic place and it had a door that locked from the inside!! ...</i>"<br /><br /><i><b>publisher's comment</b></i>: Mary, you are so absolutely right about the cave/refuge aspect of the wet darkroom. Every darkroom that I ever had served exactly that kind of "refuge" function. Thanks very much for the vivid reminder. I'll be remodeling my home office/"studio" soon and somehow I need to incorporate the notion of "refuge".gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com3tag:blogger.com,1999:blog-35255295.post-36917997141167826312007-01-09T20:43:00.001+00:002007-01-09T20:43:49.131+00:00Technorati<a href="http://www.technorati.com/claim/tncdbhtwdx" rel="me">Technorati Profile</a>gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com1tag:blogger.com,1999:blog-35255295.post-41510226805810938792007-01-09T13:43:00.000+00:002008-12-10T02:36:23.786+00:00dis-ease # 2 and a comment<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CbEY2hvLz6v6o_6KT9Vt0nQIA-rv5EX7KKMXU8PNDyzUB_Jw5_UnOEwKRIbNcixSeEMo4kUrarXxPPSNhrC0GnaMQMzPit6E9q3z0c4GKwrHy9y2rGfcIfE9TxLKcUUYu1kJUA/s1600-h/bkydfireplace.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CbEY2hvLz6v6o_6KT9Vt0nQIA-rv5EX7KKMXU8PNDyzUB_Jw5_UnOEwKRIbNcixSeEMo4kUrarXxPPSNhrC0GnaMQMzPit6E9q3z0c4GKwrHy9y2rGfcIfE9TxLKcUUYu1kJUA/s400/bkydfireplace.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5018036076273990882" /></a><br /><b>This is what's passing</b> for an early January <i>winter</i> morning here in the Adirondack north country. Photographed comfortably in a t-shirt and shoes without socks, although I did find it necessary to tuck the Polaroid print in my armpit - Cold Weather Polaroid Development Technique # 1.<br /><br /><b>Comment on a tempest in a teapot</b> - Much is being made on a number of blogs about <a href="http://alecsoth.com/blog/2007/01/07/polidori-and-people-pictures/"target="_blank">a very minor difference of photography opinion</a> between Alec Soth and Robert Polidori.<br /><br />The point of contention, such as it is, revolves around the absence of people in Polidori's Katrina book, <i>After the Flood</i> - Soth wants people, Polidori does not. Soth did not actually state that he wanted people in <i>Polidori's</i> Katrina photographs. Basically, what he seems to want is Katrina photographs with more emphasis on Katrina's people-oriented tragedy - "<i>If we are going to have images from events like Katrina in our galleries, museums and libraries (as I think we must), I hope they aren’t limited to stiff, large-format photography.</i>"<br /><br />It seems that (amongst other things) Polidori took umbrage at the phrase "<i>stiff</i>, large-format photography" and posted a response on Soth's blog and the rest will be fast-disappearing history in the blogosphere.<br /><br />What I find interesting about the whole deal is 2-fold:<br /><br />#1 fold) The affair is unbelievably tame when judged by some of the Great Battles of the Literary Titans of the past century. If the blogosphere wants a battle (see # 2 fold), and it seems that it does, I want to see blog-batants get it on in the fashion of Gore Vidal v. Wm. F. Buckley circa 1968 wherein verbal and nearly physical combat were joined. In one exchange Vidal called Buckley a "pro-crypto Nazi", to which a visibly livid Buckley replied: "Now listen, you queer. Stop calling me a crypto Nazi, or I'll sock you in the goddamn face and you'll stay plastered." Now <i>that's</i> a difference of opinion. Ahh, the good old days.<br /><br />#2 fold) One thing I've learned from my time spent on online forums/blogs is that, protestations to the contrary, everybody loves a fight/flame war. Consider this - In typical blog fashion, a very popular blog about photography - <a href="http://theonlinephotographer.blogspot.com/"target="_blank">The Online Photographer</a> goes about its daily business and generates a very modest number of comments, especially so when judged against its daily traffic - 6,000 page views a day. I can't tell you what the over all average number of comments per post is but, on the latest 15 posts in January, there 136 comments for an average of under 10 comments per post.<br /><br />Leverage that average against the 31 comments on what turned out to be a controversial topic, <a href="http://theonlinephotographer.blogspot.com/2006_12_01_theonlinephotographer_archive.html"target="_blank">T.O.P. Photographer of the Year 2006</a> post. Note also that commenting was "closed" at 31 comments and who knows how many comments weren't allowed (comments on T.O.P. are allowed only after moderator review). The bruhaha spead out across the blogospere in a manner similar to that of the Soth/Polidori thing.<br /><br />Also consider this - On an online nature photography forum where I was known as an enfant terrible (because of my passionately held and expressed views on photography), my photography posts garnered a relative handful of comments <i>unless</i> they were accompanied by a passionate statement of one kind or another. Then, all hell would break loose. Out came the flame-throwers and comments and views soared.<br /><br />It seems that most people love a fight. So much so that, if I wanted to increase the number of comments here on The Landscapist, it would seem wise to start a war of words with someone or about something. Even though the web, and blogs in particular, are a 2-way highway, it's a pity that more people don't respond to <i>thoughtful</i> ideas. I guess, as Thoreau opined, it's just part of human nature that most people live lives of <i>quiet</i> desperation, unless, of course, there is rage or anger at the fore.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com4tag:blogger.com,1999:blog-35255295.post-85548173948397523012007-01-08T17:00:00.000+00:002008-12-10T02:36:23.995+00:00dis-ease # 1 - a Triptych<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVbm1grH3FgLCs4wRu9q8jiRbsAvWhpZPqxrDWo0R6tahslF9TSO2NYsu9qZMFYXGisM1o2oXVh4T-YTWbl54TKFNtAKjaKfwwY43TyRhgHB9uWeMUVMLxkf-3DNEkgxEEVSfeMQ/s1600-h/dis-easeflat.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVbm1grH3FgLCs4wRu9q8jiRbsAvWhpZPqxrDWo0R6tahslF9TSO2NYsu9qZMFYXGisM1o2oXVh4T-YTWbl54TKFNtAKjaKfwwY43TyRhgHB9uWeMUVMLxkf-3DNEkgxEEVSfeMQ/s400/dis-easeflat.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5017762070245407954" /></a><br />"<b>If we are to change</b> <i>our world view, images have to change. The artist now has a very important job to do. He's not a little peripheral figure entertaining rich people, he's really needed...</i>" ~ <b>David Hockney</b><br /><br />The notion/idea/concept of "Art" has been discussed endlessly - some might even say "ad nauseam". Discussions often center around the question, <i>what</i> is Art? or its associate, <i>is</i> it Art?, is it a noun or is it a verb?, maybe both?, is it democratic (art) or is it elitist (Art)?, is it serious or is it frivolous?, should it serve egocentricity or universality?, should it soothe and entertain or should it confront and agitate?, what is <i>good</i> art or what is <i>bad</i> art?, etc., etc., etc.<br /><br />I don't mean in any way to imply that questions should not be asked or that answers should not be offered. Over the past few years, during which I have been able to concentrate more and more on my personal photography, I have been pondering a wealth of art issues. My "answers" to most of the questions haven't really changed all that much from those of years past - for the most part, they have undergone a bit of fine tuning.<br /><br />For the record, I have always felt that Art is much better than art...that Art that is "serious" is better than art that is "frivolous"...that Art that agitates is better than art that soothes...that Art that is born of ego but nevertheless connects to the universal is the best Art of all...that art, like religion, that panders to the masses is little more than an opiate that deadens the mind and spirit...that Art that is "difficult" is good and art that is "easy" is bad...and please. please don't tell me that "good" and "bad" are just a matter of "taste".<br /><br />That said, the one aspect of Art that, more and more, I am subscribing to above all others is the aforementioned quote/opinion by David Hockney.<br /><br />But, let me add a very important caveat - there is a popular sentiment that Art that is serious, Art that seeks to agitate, Art that goes beyond entertainment must be either "ugly" or "boring", That, in fact, not only is (must) the very object of the camera's gaze always ugly and boring (or trite), but that the resulting photograph will (must) inevitably be joyless (i.e., not entertaining) and pedantic.<br /><br />To which I respond, "Nuts". I believe that "serious" Art (in this case, Photography, and in this <i>specific</i> case, dis-ease #1) can be both illustrative <i>and</i> illuminating.<br /><br />I mean "illustrative", not just in the sense of being merely <i>descriptive</i>, but in the fullest sense of being visually <i>entertaining</i> and engaging. Photographs that evidence, on one level, the simple <i>joy</i> of seeing - as in dis-ease # 1.<br /><br />I mean "illuminating" in the sense of - to be enlightened, as with knowledge - that can come only from being <i>fully</i> engaged in the world around one's self. By" fully engaged", I mean Photography that is not just about people, places and things (the referent) that appeal to the visual senses, but Photography that is also about ideas - <i>thoughts</i> (the connoted) that engage the intellect and the emotions - as in dis-ease # 1.<br /><br />So I ask, What could be better than a life lived fully engaged?<br /><br /><i><b>about the photograph</b></i>: What is it about man's seemingly basic need/desire for order? ~ Polaroid SLR 680 with 600 series film.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com0tag:blogger.com,1999:blog-35255295.post-41212573760262193262007-01-05T15:09:00.000+00:002008-12-10T02:36:24.219+00:00The Snapshot Aesthetic<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfoEyJ-EY4WUI53SJ8IXUOcboo3YVx8zzxA2tEDBUzeuSDYFwi_4ZW4bnXYjx1849_JClQeF6KwCnTYJkUPm85SBe3BUsGVlRI22lXPOYEAeFLOGDUTbwj86vqVXFeNQkKr0jow/s1600-h/bigtop.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfoEyJ-EY4WUI53SJ8IXUOcboo3YVx8zzxA2tEDBUzeuSDYFwi_4ZW4bnXYjx1849_JClQeF6KwCnTYJkUPm85SBe3BUsGVlRI22lXPOYEAeFLOGDUTbwj86vqVXFeNQkKr0jow/s400/bigtop.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5016564083607469218" /></a><br /><b>Another interior landscape</b> - Oddly enough, and sort of out-of-the-blue, last fall a traveling 3 ring circus (Carson & Barnes) came to our little hamlet of about 800 souls here in the Airondacks. It was weird for a number of reasons: like, why, of all places, here? and, the way in which they showed up in the morning, set up the whole deal, including the main tent (with the assistance of elephants) and various side show attractions, put on afternoon and evening shows, and then packed up during the night. By the next morning they were gone, leaving not a single trace of their passing. I guess you might have to live in a sleepy little hamlet in the largest wilderness in the eastern US to understand how surreal the whole thing seemed.<br /><br />In any event, I have posted this photograph as an opportunity to discuss the "snapshot" aesthetic. On the recent <i>urban landscape</i> thread, Billie commented that "...<i>I have a holga lens attahed to the body cap for my digital camera....I want the digital combo to work but I'm not sure. I think part of the reason it isn't going to work is because I have a different attitude with the holga in my hands than I do with a dslr...but there may be no Holga but a holga.</i>"<br /><br />Since Billie is a newbie here (comment-wise), I checked out her blog, <i>billieblog</i>, an found <a href="http://billiemercer.blogspot.com/2006/12/holga-vision.html"target="_blank">this The Holga Vision post</a> whereon she poses the question, "<i>What is it about a Holga Camera that lets a photographer see just a little differently</i>?"<br /><br />Good question. But for me, the answer is to refute the basis for the question - I don't see differently with different cameras. When photographing in my non-commercial/personal state of mind, I tend to carry my way of seeing - the vision thing - over to whatever camera/format I am using - from my 8x10 view camera on down the line to my krappy kameras. <br /><br />No matter the camera or optics, analog or digital, I always crop to square. I always blur and burn the corners of my prints. I always aim for "natural" color. I almost always work the slightly wide to normal range of the optics spectrum. I always print "small" (by current gallery standards). And, my gaze is always deadpan and "casual" <i>appearing</i>. FYI, I use the word <i>appearing</i> because, even though my photographs appear to be randomly "composed", they are anything but.<br /><br />Why? Simply because I want my photographs to have the initial feel and impression of snapshots. I don't want observers to be put off by formal technique and presentation that screams, "<b>This Is Art! Sit up straight and pay attention. I don't want to have to tell you twice!</b>" I want my photographs to be "accessible" to the casual viewer, not just those with "artistic" sensibilities, although I know that my photographs swing both ways.<br /><br />My photographs certainly say a great deal about me, but, ultimately, it is the <i>referent</i> and the <i>connoted</i> that I want the observer to connect with. I am not photographing for glory and adulation (well, a little wouldn't hurt). It is making a connection with the observer that turns me on. <br /><br />My photographic gaze almost always focuses on simple everyday things - my <i>referent</i>. In a broad sense, the <i>connoted</i> that I hope to convey to observers of my photographs is an appreciation for the simple beauty of unadorned life and living. <br /><br />So, that's why I see and why present the fruits of my seeing in a simple appearing snapshot aesthetic - no matter the <i>means</i> of photographing.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com1tag:blogger.com,1999:blog-35255295.post-31455208445287893062007-01-04T13:23:00.000+00:002008-12-10T02:36:24.506+00:00ku # 448 ~ Time to die; thoughts on photography, rage against The Machine, and legacy<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1U6xmT1ix008gudppVVCWk3f_k9V4DPXY4_5Ltw5wveukYEts_TmEy2o7nlWwBznIUlZq2-XdSMOIP1SNUH_N3lkUnqX91dk1fckiWweUwqByP8nDPFiB7odPHZOyzzO7XpQFQ/s1600-h/upendedrootssq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1U6xmT1ix008gudppVVCWk3f_k9V4DPXY4_5Ltw5wveukYEts_TmEy2o7nlWwBznIUlZq2-XdSMOIP1SNUH_N3lkUnqX91dk1fckiWweUwqByP8nDPFiB7odPHZOyzzO7XpQFQ/s400/upendedrootssq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5016165559288298034" /></a><br />"<b>I've seen things you people wouldn't believe....All those moments will be lost in time, like tears in rain. Time to die.</b>." ~ the last words of Ray Batty, a replicant (androids which are claimed to be "<i>more human than human"</i>), from the movie <i>Blade Runner</i>.<br /><br />Blade Runner is one of my favorite movies. I was re-viewing it recently and I heard Ray Batty's last words in a whole new light, a lightweight photo-epiphany of sorts. - at least at the time I thought it was lightweight. However, upon further consideration, I am coming to an awareness about the medium of photography which is considerably heavier than I first thought.<br /><br />In a glib kind of fashion, my first thought (honest, my very <i>first</i> thought) upon hearing Batty's words this time around was...<i>didn't he have a camera</i>? I mean if I were seeing attack ships on fire on the shoulder of Orion and C-beams glittering in the darkness at Tannhauser Gate, I'd be filling up some memory cards like there was no tomorrow. Then again, I'm not a replicant and I don't know the answer to the question, "Do Androids Dream of Electric Sheep?" (the title of the book by Philip K. Dick that the movie Blade Runner was based on). <br /><br />Nevertheless, dreams/memories are a big item in <i>Blade Runner</i>. When designing and producing replicants, the Tyrell Corporation found it important to "program" memories into replicants - memories of childhood and a past life, which, of course, they never had. The Tryell Corporation deemed memories integral to being human and I'm not about to disagree.<br /><br />One of the renegade replicants, Leon, even has photographs that reinforce his (programmed) memories. In this replicant's case, it would be accurate to say that the photographs <i>are</i> his memories. In order to be <i>more human than human</i>, Leon must have his photographs. In an interesting twist, another replicant, the ever-luscious ("ever", because she has no pre-programmed termination date - unlike the 4 year life span of Ray, Leon and Pris) Rachael, must forget her memories, throw out her photos, and start again in order to begin a new "life".<br /><br />Either way, memories and the photographs which create, supplement and mediate them, are given due weight in the plot line of <i>Blade Runner</i>.<br /><br />Anyone who has taken the time to read my <a href="http://www.adirondacklight.net/dreammeories.html"target="_blank">Artist's Statement</a> knows that dreams and memories are an integral part of my photography and the motivations/inspirations that drive it. Even though my individual photographs are labeled "ku" <a href="http://landscapists.blogspot.com/2006_12_10_archive.html"target="_blank">(see 2nd entry - titled <b>FYI</b>)</a> , the body of work is labeled <i>Adirondack Dream Memories</i>. No one has to tell <i>me</i> about the importance of dreams and memories. I have been exploring that notion for quite a while now.<br /><br />What's always puzzled me about my photography quest is "why". I know that I'm curious. I know that I'm visually "gifted". I know that I have a drive to discover and express the <i>unthought known</i>. But, I am beginning to realize that perhaps a large part of my artist-hood is driven quite simply (like Ray Batty quest to meet his maker) by a <i>rage against the Machine</i>. <br /><br />In my case, The "Machine" has many faces - from a few personal pet-peeves like ubiquitous cliche-driven landscape/nature photography or the culture of consumption which destroys souls <i>and</i> the environment, to the universal grand-daddy of all Machines, <i>death</i>. Ray Batty was certainly exhibiting a formidable rage against that particular Machine.<br /><br />In the context of the Death Machine, I am struck by 2 other book titles - both written by the great American artist, Rockwell Kent - <i>It's Me, O Lord</i> and <i>This is My Own</i>. Rockwell Kent lived just down the road from me here in the little hamlet of Au Sable Forks. The books are Kent's collective autobiography and in them he lays down his memories proudly and empahatically (I think with a bit of defiance) proclaiming, <i>O lord, <b>this</b> is <b>me</b>, <b>this</b> is what i have created and nobody can take it away!</i><br /><br />Unlike most of us artists of the mere mortal variety, Kent's artistic legacy is assured. His works are enshrined in museums throughout the world (especially in the former Soviet Union) and in too many illustrated books to mention (actually, I'll mention one - I received for Xmas a copy of Walt Whitman's <i>Leaves of Grass</i> illustrated by Rockwell Kent).<br /><br />So, all of this has caused me to think a bit more about my legacy, in this case, photography-wise (although, this O lord, is <i>part</i> of me, it is my own). Sure, there are a couple coffee table books of my photography out there: one (photo journalism) in which my work is the featured photography (but not only photography); one (still life) which is based entirely on my photography. Sure, I'm working on getting a book deal done - a monograph of my Adirondack Dream Memories. Sure, I have photographs hanging on walls in homes and a few galleries. Sure, sure.<br /><br />But, I want more than that and, in today's world of internet-based custom photo book printers, I'm going to get it. As some already know, I believe that custom photo books represent an important step forward, full of possibilities for photographers. I intend to pursue the "diary" as legacy possibilties.<br /><br />Right now, most of my "diary" is on disks and hard drives. For all intents and purposes, it is rather invisible - a sad state for something so visual. I don't have nearly enough wall space in my house to accommodate my "diary" and even if I printed <i>really</i> small so to fit them all in, my house isn't very portable or reproducible. And, because they're so inexpensive to create (a hard bound book of 20 photographs in most cases costs less than one custom lab made 8x10 print), lots of them.<br /><br />Make no mistake about it, I really like original photographic prints, mine and other's, but I'm beginning to feel that photo books are my real medium. I like the fact that you can create a more complete narrative than you can with a single print. They're portable. You can print just one. You can print 100. You can lend them to friends. Take them on vacation. You can place 5 different ones on a coffee table and have 100 (or more) photographs within easy reach of anyone. They can be viewed and appreciated in a car, on the can, in bed, on a plane....<br /><br />And, as Colin Jago wrote on a Steve Durbin post on <a href="http://www.artandperception.com/2006/12/four-categories-of-art.html"target="_blank">Art &Perception</a>, "<i>...one of the reasons that I like photo books... When closed they are closed. They are fresh again when I open them.</i>" <br /><br />So, books it is. <br /><br />After all, I've seen things like you people haven't seen them. I don't want all of those moments to be lost in time, like tears in rain.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: John Joannides wrote: "<i>Interesting way of putting it, raging against the machine, and in some ways I think it's accurate for many photographers. For me, as an example, my machine happens to be the grind of daily life. Doing things that one wouldn't choose to do except for the need to earn money and fight negative entropy. The rage manifests itself as exploration of life and fantasy via photography and other types of image making. A ying to the yang. Or at least that is a part of it, but then again so many hobbies and callings are in a way. People are just compelled to do them.</i>"<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Steve (no longer semi-anonymous) Lawler wrote (in part): "<i>Roy's time to die scene defines Blade Runner to me; I count it among the most profound in my cinematic experience. It’s compelling precisely because it articulates the fleeting and bittersweet essence of the human condition. As I’d mentioned previously, your work is analogous to the extent that it facilitates this recognition of the divine in the mundane. After all is said and done, it’s about immortality.</i>"gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com7tag:blogger.com,1999:blog-35255295.post-10783239904836615532007-01-03T15:38:00.000+00:002008-12-10T02:36:24.958+00:00urban landscape<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihJnh9Rpx14PzVtmFwEXrhgIcWhotLniB48i8ZTAHqTTsx9DlpNIz5RuM6bD_fWlX_aUbbAhMW5hKXm1Jm5t-mEgo3EeY_V7hl2KoLV3PsCH3klUZynEdpg6Ju5sPHCmfbTIJ91Q/s1600-h/theaterA.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihJnh9Rpx14PzVtmFwEXrhgIcWhotLniB48i8ZTAHqTTsx9DlpNIz5RuM6bD_fWlX_aUbbAhMW5hKXm1Jm5t-mEgo3EeY_V7hl2KoLV3PsCH3klUZynEdpg6Ju5sPHCmfbTIJ91Q/s400/theaterA.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5015829134500002322" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBLC9jtA3A37llBt5dVBX6PmarjXjPG_zGqxtCDOOeJh2Ra358xXvJDCJJSQmudj0SEoMyI579JMCvTNCP6O85OOfPmwfedXP5BY2Yu33eaSNRRnWTHRCUxZPulPc6uV2RAtDqg/s1600-h/churchA.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBLC9jtA3A37llBt5dVBX6PmarjXjPG_zGqxtCDOOeJh2Ra358xXvJDCJJSQmudj0SEoMyI579JMCvTNCP6O85OOfPmwfedXP5BY2Yu33eaSNRRnWTHRCUxZPulPc6uV2RAtDqg/s400/churchA.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5015862179978377762" /></a><br /><b>Do you ever feel</b> like you just have to get outside the box? Even though you might be very absorbed in a long term project (a box of sorts), you still just <i>have</i> to taste something different. Not a change of diet, just a different flavor for the palette. That's where I am at this moment.<br /><br />For me, it's looking more and more like a return visit to my much-favored toy camera genre - the Polaroid. In this case, the Polaroid 680 SLR simply because <i>I can still get film for it</i> (not so for my favorite SX 70 cameras). The camera itself is actually very sophisticated - it is an SLR, has a glass lens, AF, and wide range of aperture/shutter settings (albeit auto) - but the prints are rather toy-like in as much as the color, contrast and print size are all "pure" Polaroid-centric.<br /><br />The one digital-era variation on those Polaroid-centric characteristics is that they are now open to digital darkroom mods. My plan is to scan the originals to preseerve the Polaroid-centric characteristics with the possible exception of print size. Well scanned and enlarged Polaroid prints are, IMO, very intriquing.<br /><br />My choice is also based on the fact that the digital domain has me <i>extremely</i> addicted to instant feedback and, at one point in the analog past, Polaroid was the only game in town for that. Speaking of the analog past, I also have an ever stronger desire to use <i>film</i>, to be at least partially analog. I'm not at the point where I'm ready to start dragging the 8x10 with color neg film around, but I'm getting close. I figure the Polaroid thing will help stave off that particular inevitable for a while longer.<br /><br />I am <i>not</i> going to replace my dslr photography with the Polaroid. I'll just be bringing it along where ever I go.<br /><br />Anyone else feeling, or, felt the same way? What are/did you do?<br /><br /><i><b>the photographs</b></i> - I mentioned in my previous James Brown post that I did a Day-in-the-Life (of Pittsburgh PA) project for Pittsburgh Magazine. One of my areas to photograph was the Hill District, Pittsburgh's once pre-eminent and thriving - then and now decaying - black neighborhood.<br /><br />I photographed the assignment entirely with Polaroid cameras - SX-70, SLR 680, and a Spectra Onyx - although I did carry 2 Nikons on my shoulders so people would take me seriously. The photographs are from that assignment. <b>New Granada</b> - SX-70 camera and Time-Zero film. <b>Before the Funeral</b> - Polaroid SLR 680 and 600 film (faster than Time-Zero film).<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: anonymous wrote: "<i>Film does exist for the SX-70, called SX-70 Blend. It's available from <a href="http://www.unsaleable.com"target="-blank">unsaleable.com</a>.</i>"<br /><br /><i><b>publisher's response</b></i>: Thanks for the link. I am very pleased to know that someone has picked up the manufacturing of SX-70 film albeit a different film. I will give it a try a some point, but at $38 US + shipping per 10 photo pack, I won't be using it to get the current Polaroid monkey off my back.<br /><br />Other original SX-70 film (Time-Zero) characteristics aside, does anyone know if the emulsion on the new stuff is as maleable as the old stuff? I really enjoyed making photographs like these with Time-Zero film - something not nearly as possible with 600 film.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0SozwZunEa6UvkUdyvKWrygCwI6FiSnFdgHCsoC_gD_eIn8fxvxZ45LgdSdOmC20sEe775EymgeTFPQysVsLguyOtTYqTvuU0fY4s3y1zCrsF0VTQVpoB3tGDvKyaeGVxZrIU6w/s1600-h/polaroids.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0SozwZunEa6UvkUdyvKWrygCwI6FiSnFdgHCsoC_gD_eIn8fxvxZ45LgdSdOmC20sEe775EymgeTFPQysVsLguyOtTYqTvuU0fY4s3y1zCrsF0VTQVpoB3tGDvKyaeGVxZrIU6w/s400/polaroids.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5016242318943812162" /></a>gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com4tag:blogger.com,1999:blog-35255295.post-72635939945501632042007-01-02T13:22:00.000+00:002008-12-10T02:36:25.331+00:00urban ku # 17/17a<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ohC2Nrpm9VrEqKc0Hq1G7yAajZ59b9nM6r4wNChQmHwBlSRNttMMoGz3ZiSye0Lasj9mvgZMHzsj5EpViFz-9LY3Z4L0OxIZfL1n0W77mDhanB19ci27fO-3WV8Zk6GMuA-rQg/s1600-h/topsparkingsq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ohC2Nrpm9VrEqKc0Hq1G7yAajZ59b9nM6r4wNChQmHwBlSRNttMMoGz3ZiSye0Lasj9mvgZMHzsj5EpViFz-9LY3Z4L0OxIZfL1n0W77mDhanB19ci27fO-3WV8Zk6GMuA-rQg/s400/topsparkingsq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5015423118356609522" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEapnBMqcGyZUfiptjpNdNMLBHrNLO2tJfbW8sMwKoIMI7qs5QE4ZYSdap1vMS9NEWTUDFhYwkpoKxrhofcKFNk0Cu7zKtEDPPwymVXSIQ75LfxFMvlds9OLXyUvKtFRmev9VwVA/s1600-h/topsparkingbwsq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEapnBMqcGyZUfiptjpNdNMLBHrNLO2tJfbW8sMwKoIMI7qs5QE4ZYSdap1vMS9NEWTUDFhYwkpoKxrhofcKFNk0Cu7zKtEDPPwymVXSIQ75LfxFMvlds9OLXyUvKtFRmev9VwVA/s400/topsparkingbwsq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5015422955147852258" /></a><br /><b>An anonymous commenter</b> wrote, "<i>when asked....color? <b>Prose</b>. Black and White? <b>Poetry</b>.</i>"<br /><br />I never thought of it exactly that way before. To my eye and sensibilities, B&W photography - with the exception of portraiture - has always been a medium of abstraction in as much as we don't see in B&W. Something is "missing" in B&W photography, something has been "altered", that something of course being color, which is a very real and ubiquitous component of our visual world. Perhaps it is the familiar ubiquitiousness of color that causes anonymous to characterize Color photography as "prose" or prosaic.<br /><br />The dictionary lists as synonyms for "prosaic" - ordinary, everyday; vapid, humdrum, tedious, tiresome, and, uninteresting, although my leap from "prose" to "prosaic" may be overstating anonymous' intent, but I think not since the dictionary definition of "prose" hammers on the same notes of ordinary, everyday, dull, etc.<br /><br />So I must respectfully disagree with anonymous. There exists too much good color photography - my own included - to label the color photography genre "prose" or "prosaic". <br /><br />As for the contention that B&W photography is poetry, I might be inclined to venture "maybe". "Maybe", first and foremost because I am not all that comfortable using one form of art as a metaphor for another form. Photography is not poetry, or for that matter, prose, both of which traffic with and in words. <br /><br />"Maybe", because, when used as an adjective, the word "poetic" can mean something with <i>poetic qualities however manifested</i>. But for me, the problem here is that "poetic" can also aptly describe much color photography as well.<br /><br />It should not be inferred that I dislike B&W photography. I will venture that carefully crafted B&W prints can be, in and of themselves and independent of their subject matter, incredibly beautiful <i>objects</i> in a manner that color prints don't seem to match. B&W photography also seems well suited to describing shape and line and, perhaps, with skillful compostions of shape and line, B&W photographs can emulate, after a fashion, the rythmn and meter of poetry. But, IMO, the same can be said of color photography as well.<br /><br />All of that said, it should be obvious that my chosen manner of photographic expression is the Color vernacular. I would be interested in reading the thoughts of those who have chosen the B&W vernacular as theirs.<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: Steve Durbin wrote (in part): "<i>...A phrase that springs to mind in this context is "poetic license." That's appropriate because B&W photographers can "get away with" much stronger image manipulation without having their images judged as overly manipulated, for the very reason that they've already abstracted their image from reality by dispensing with color. Thanks to historical accident, viewers have a level of acceptance of black and white images that can be and is taken advantage of by photographers....</i>"<br /><br /><FONT COLOR="#FF0000"><b>FEATURED COMMENT</b></FONT>: anonymous wrote: "<i>I think you're missing something here. In fact this entire post is based off a profound misunderstanding of the anonymous commenter's comment.<br /><br />What you're missing is that prose is not necessarily prosaic. In fact it can be anything but prosaic. The two words are not synonymns despite sharing a root word, yet your post is based on prose being necessarily prosaic. <br /><br />Yes, colour photography is more prose than poetry. That is due to poetry and B&W being more abstract approaches, while colour and prose are in general more descriptive. Neither need be prosaic, and both certainly can be.</i>"<br /><br /><i><b>publisher's response</b></i>: Thanks very much for the toughtful comment.<br /><br />My interpretation of the original anonymous' statement - "<i>when asked....color? <b>Prose</b>. Black and White? <b>Poetry</b>.</i>" - was based on the dictionary definition of "prose" which states; 1.the ordinary form of spoken or written language, 2.matter-of-fact, commonplace, or dull expression, quality, discourse, etc., 4.commonplace; dull; prosaic, 5.to write or talk in a dull, matter-of-fact manner. The dictionary also states that poetry is <i>a quality that suggests grace, beauty, and harmony</i>.<br /><br />But, without going all didactic or donnish, I inferred that anonymous was opining that bw photography was superior to color photography as in grace and beauty trump dull and commonplace. Maybe that's not what he meant. Maybe he just used the wrong analogy.<br /><br />In any event, I do agree with you that when it comes to photography, color or bw, neither need be prosaic, and both certainly can be.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com2tag:blogger.com,1999:blog-35255295.post-23710146709919704932006-12-31T18:19:00.000+00:002008-12-10T02:36:25.524+00:00The Godfather of Soul - a New Year's Eve reflection on a social landscape<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyfjAwz8GLYCxQ97GocW1cHa75saRpPumLw3sv9NSAZg0tfqZUrw979wfCST8eLK6vq5_UrBDDdFwwusksNgxfbRYGBHSndt8z5dBLbqMaFt8q5IDU4sdb-M4SYabmjAS49nmwxA/s1600-h/jamesbrown.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyfjAwz8GLYCxQ97GocW1cHa75saRpPumLw3sv9NSAZg0tfqZUrw979wfCST8eLK6vq5_UrBDDdFwwusksNgxfbRYGBHSndt8z5dBLbqMaFt8q5IDU4sdb-M4SYabmjAS49nmwxA/s400/jamesbrown.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5014757405938857026" /></a><br /><b>In the Tidbit</b> post of a few days ago I mentioned <i>places</i> that had an emotional and physical impact upon me. This post is about an <i>event</i> that grabbed me by the balls and wouldn't let go.<br /><br />This morning, as I was having a cup of coffee, I was reading an article in the morning paper about James Brown and the tribute gathering of over 8,500 people in Augusta, Ga. One woman commented that it was 30 years ago that she first saw James Brown in concert, and, WHAMMO, I realized that it was 30 years ago that <i>I</i> first saw him in concert. <b>correction</b> - it was <i>40</i> years ago that I first saw him (thanks to Gary Filkins for catching this one).<br /><br />Actually, I wasn't in attendance as a concert-goer, I was there to photograph the event and that's why my photographs have an on-stage perspective - that's where I was, on stage with The Godfather of Soul. With all of the whirling dervish and raw emotional/physical energy that James Brown put down, being on stage, at times between him and the audience, was a hair raising and spine tingling experience, to say the least. But that's only part of the story.<br /><br />Those of you who are good with math <i>and</i> have a good memory (or a knowledge of history) will have already deduced that this performance took place during that mid-sixties period of "long, hot summers" when many American black inner-cities erupted with riots. Riots, that for many, seemed rather unreal or Kafka-esque - this was <i>America</i> after all, things like that don't happen here. Well, in fact, things like that did happen, as well as the lynching of blacks, the murder of young civil rights workers, and the assassination of black <i>and</i> white leaders. To say that there was racial divide and anger in America was a <i>vast</i> understatement. And, to say that there were some angry black men (and women) - many, rightfully so - was also an understatement.<br /><br />So, there I was, a big-target, Levittown-style raised (no blacks here), private school (no blacks here) white boy, sandwiched (figuratively and literally) between two social landscapes <i>and</i> sandwiched between the <i>Godfather</i> and his held-in-the-palm-of-his-hand emotionally-charged audience. There might have been another white guy in the place - a huge packed-to-the-rafters auditorium/gymnasium/plane hanger (on the island of Okinawa, Japan and if memory serves, on an Air Force base) - but, if there were, he wasn't anywhere near my fish-bowl like spot. Safe to say , James Brown was not the only one sweating on stage (another understatement).<br /><br />Did I feel in <i>physical</i> danger? Kind of sort of, but not really. Was it stupid to feel that way? Kind of sort of, but not really - it only takes one idiot (black or white) in a crowd to start a riot. Did I feel a deep and disturbing sense of ill-at-ease? Oohhh, yes. Was it because I was surrounded by a sea of black people? Yes, <i>but not because they were black</i>. Were there any problems? No, not a single one. Nothing. Nada. Did I come away changed? Yes. Up to that point in my life, the civil rights movement had my complete sympathy and support, but always in a rather intellectual and removed sort of manner. Did I plan to become a civil rights worker in the deep south or urban America? No, but I did resolve to become very actively involved in the Robert Kennedy campaign upon my return to the US - but that's a whole 'nother story.<br /><br />Thank you and goodbye, Mr. Brown.<br /><br /><i><b>addendum</b></i> - Interestingly enough, years later after moving to Pittsburgh PA, I was regularly given photography assignments (for Pittsburgh Magazine) in the Hill District - Pittsburgh's once thriving, then (and still) decaying prominent black neighborhood - simply because, talent aside, <i>I would go there</i>. When the magazine did a special edition day-in-the-life project, I was, of course, assigned The Hill (the inspiration for tv's Hill Street Blues) as one of my areas to cover. On assignment I was stopped by a cop who informed that I was "insane, stupid and a complete idiot" - somewhat of an <i>overstatement</i>, but, since I was stupid, I guess he wanted to be sure I got his point - to be walking around that neighborhood with all of that expensive camera gear hanging from my neck and shoulders.<br /><br />Did I feel in <i>physical</i> danger? No. Did I feel a deep and disturbing sense of ill-at-ease? No. Were there any problems? No, not a single one. Nothing. Nada.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com3tag:blogger.com,1999:blog-35255295.post-52049014912196965492006-12-30T21:57:00.000+00:002008-12-10T02:36:25.751+00:00ku # 447<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMtUKmUfEV1qZDHmkUFiymMOJrmPa2oNtyiTJWNpbvOPgviI-WLynw25MVSI0eH9-UwuUG9es8F7OPwjLb7Q-4j7ZyzTnlR5NPIgL-Zj9Y99aX593Sup5UIqOBHN7RAyRZRnK9w/s1600-h/whtfcparkingsq.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMtUKmUfEV1qZDHmkUFiymMOJrmPa2oNtyiTJWNpbvOPgviI-WLynw25MVSI0eH9-UwuUG9es8F7OPwjLb7Q-4j7ZyzTnlR5NPIgL-Zj9Y99aX593Sup5UIqOBHN7RAyRZRnK9w/s400/whtfcparkingsq.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5014442524706518066" /></a><br /><b>Looking back at</b> Little Whiteface around 3:30pm, 12/30/06. Actually, it's the lower reaches of Little Whiteface. Whiteface Mt. proper is lost in the ascending cloud bank on the right and continuing out of the frame. In any event, I thought the light was nice. Note the sky reflections in the foreground vehicles. As always, click on the photograph to see a larger version.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com1tag:blogger.com,1999:blog-35255295.post-8875361106514121672006-12-29T14:09:00.000+00:002008-12-10T02:36:25.969+00:00Tidbit - On Originality<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZxuzMY0uTayUkjvCZ5ql82RyNc7pmTZjU8iglKZBfPxf_iLCvkU5Ea1E8a-R7K64fGWJzn_Jm2DgdboIxEEj47CUolJU8F8mrbzPH3O4KJSbJ2mWsbMNk4jpw7l4cXbsHaU7PXA/s1600-h/shannon.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZxuzMY0uTayUkjvCZ5ql82RyNc7pmTZjU8iglKZBfPxf_iLCvkU5Ea1E8a-R7K64fGWJzn_Jm2DgdboIxEEj47CUolJU8F8mrbzPH3O4KJSbJ2mWsbMNk4jpw7l4cXbsHaU7PXA/s400/shannon.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5013958619331212322" /></a><br /><b>3 point play</b> - The shot was good. The foul is evident (the ref's arm is on the way up). She converted the free throw on her way to a 27 point night. The Au Sable Valley girls whomped all over the girls from Bethpage (Long Island) during the annual Holiday Classic in the <i>Herb Brooks</i> Arena (aka, the 1980 Olympic rink).<br /><br /><b><i>a personal aside</b></i>: During my life, I have had a few <i>very</i> emotional reactions to a few <i>places</i>. Places, that for a variety of personal reasons, called up memories so vivid and strong that I experienced emotions and sensations that were nearly physically overwhelming - tingly hair on the neck and arms, a little wobbly in the knees and a tweak in the gut. The Vietnam Memorial in DC, Frank Lyold Wright's Falling Water in Ligioner PA, and the 1980 Olympic Rink (now known as the Herb Brooks Arena) are at the top of the list.<br /><br />The first time I set foot in the Olympic arena, I felt as though I was in/on hallowed ground, a feeling that continues (slightly deminished) to this day dispite the fact that I am in the arena very frequently. Why? In a phrase, The Miracle on Ice - a landmark Cold War event.<br /><br />A bunch of college-age kids, some might say a ragtag bunch, did what was considered the impossible - they defeated the mighty Soviet Red Army hockey team. At that time and in that period of national angst, hockey fan or not, it was apparent to the nation (and most probably, the world) that this was a defining Us against Them match of the Titans. USA vs the USSR. Good vs Evil. Freedom vs Repression. And fortunately, no guns or missiles. And, a more "innocent" time perhaps, but we won.<br /><br />I wasn't there. I watched on tv - tape delay, prime time broadcast. Those who were in Lake Placid. but not in the arena, claimed that the chants of "USA, USA, USA" (you heard it here first) could be heard at the other end of town. I imagine that the chants also reverberated in the halls of the Kremlin as well.<br /><br /><b>Tidbit</b> - On the notion of orginality, photographic or otherwise - "<i>I milk a lot of cows, but, I churn my own butter.</i>" ~ by fictional character Rev. Jamison in the book <i>Company Man</i> by Joseph Finder. I really like this take on the oft-stated idea that everything's been done before.gravitas et nugalishttp://www.blogger.com/profile/14490244858742224956noreply@blogger.com1