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Bring that Inner Child Back

Wednesday, May 4th, 2011
When I was a child I caught a fleeting glimpse
Out of the corder of my eye
I turned to look, but it was gone
I cannot put my finger on it now
The child has grown, the dream is gone
And I have become
Comfortably numb

I’m reading William Allard’s five-decade retrospective, but slowly. Most photobooks I go through quickly, then forget. Not this one, although it may be too early to tell.

Mr. Allard is certainly not an author I identify with, with his love for Peru, cowboys, and people on the margins (the Amish, the Basques), but he does ring true as a human being.  Although it seems to me that his work is primarily flavored with many stark and iconic images (involving light and shadow), there’s a humanity in it that grabs me. I think that it’s his view of life that I identify with – at least in his earlier sections.

So as I type this, I’m thinking about his introduction; I’m thinking about how he identifies with “Comfortably Numb.” As we grow older, it becomes easier to lose our wonder with the world.  I see it in myself: I deliberately numb myself during the long winters up here, so that I don’t notice time passing quite so quickly. I do the same when I’m busy, and need to focus, or when I diet.

And it seems a shame.

I lose much of the joy in life by doing that.  I suppose it’s time to stop.

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VV was Here

Monday, April 25th, 2011

Another remarkable image in Why Photographs Work (mentioned in this posting about Mr. Burkholder’s work):

VV was here

VV was here

Call me a fan. The treatment of an elephant in the old Yousuf Karsh manner is remarkable – this one image (the image in the book itself, not Kilroy up there) speaks to me.

I really want to see it in a larger format now.

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Carrying Camera, Will Shoot

Saturday, April 23rd, 2011

I’m making my way through Why Photographs Work and enjoying it a great deal.  I guess. Reviewing an image by Dan Burkholder in particular (Tree and Pond in Fall), I was taken by how well this came out, despite being created and processed almost completely in his cell phone.

Not only is the processing of the image remarkable in its own right, but it’s a fine image on its own – I wouldn’t consider it any poorer than work done on higher-grade equipment.  What *really* jumped out at me was a comment by the photographer:

Decades ago I heard Jerry Uelsmann describe how the very act of having a camera with you makes you more aware of your surroundings.  That advice made so much sense that I’m practically neurotic about having one camera or another with me at all times.

This rings true with me – when I carry a camera, I am more likely to look around for excuses to use it.  I see this in my daily life, for example: currently it’s what we call “break-up” in Alaska, or just past it: the snow has mostly melted & ice is thawing – breaking up – and spring is effectively here, but everything is brown and grey and… well, not pretty at all.

After twenty-odd springs like this, I’m just not impressed, so I don’t carry my camera.  And as a result, I don’t notice the drabness quite so much. During other times of the year, I carry my camera compulsively.

It appears that Mr. Burkholder gets this same benefit from his iPhone.  Interestingly, I do not.

Time to get back into the habit.

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Diane Arbus: Revelations

Wednesday, January 26th, 2011
Diane Arbus, Self Portrait, from Revelations

Diane Arbus, Self Portrait, from Revelations

I just picked up Diane Arbus’ photobook Revelations. Only thirty pages in, and I’m already seeing something I really like: a self-portrait of Diane, in vulnerable and intimate pose.

It seems that any book that is retrospective, or even a body of work, could benefit from this approach.  My initial reaction was one of wonder: there’s a melancholy, but calm strength to her look.  Unlike many self portraits, this one immediately invoked a connection with her.

It made her human.

So thinking about my own work, or my own projects: I’m starting to see a real value in self portraits, and I’m somewhat saddened that I don’t have any from my past.  There’s a value, I think, to seeing the wear and tear on the person behind the work: what happened as they went through their creative process.

It’s like documenting your life, in a way that I can immediately identify with.

So far, highly recommending this book:

Revelations

Revelations

It’s not for everyone, though. If you aren’t into street photography, or images that let out the inner beast in us (and the beauty therein), then you might want to stay away.

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Photovision Video Magazine on Sale

Friday, July 30th, 2010

Let me introduce you to Photovision, a video magazine.  I’ve subscribed to this for the last two years, initially because the price was right. I continue the subscription because it’s an excellent way to see how other photographers work.

It’s kinda like this: I tend to do mostly portraits, landscape, and light architecture, with some product shots thrown in for good measure.  These videos put me in an excellent position to view baby photographers, senior photographers, and other specialists as they work.  There is technique to learn (the picture below is based on some of their portraiture), as well as a great deal about business.

Interested in getting into the business?  This is a good way to get started.

If you’re interested, they currently have their annual subscription on sale for $39 a year (that’s six 2-hour disks, one every other month). Regular price is $149 (I’ve never paid that, but I’m told it used to be common until their sponsors started picking up a lot of the tab), so it’s quite a discount.

For forty bucks, why not go for it?  Go to their site and enter “PVFAN” as the special promo code.

Portrait, Inspired by some work in PhotoVision

Portrait, Inspired by some work in PhotoVision

Relevant disclaimer: if three people follow that link, I’ll get the next year’s subscription comped.  So I do get something out of you signing up, but it’s something I’d happily pay for anyway.

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Ansel Adams, in Color

Wednesday, June 16th, 2010


Chalk this up to a lack of an artistic background, but I never knew that Ansel did some work in color. Logically, it’s obvious. The man had bills and interests. Color was important work, and he obviously did color work.

I’m tempted to say “fine work,” but I’m not sure that it is fine. Passable, certainly – but not great.

I get this from a limited view: from “Ansel Adams in Color,” to be exact. There were things that I found that broke a bit of my mental image of the man: learning that he tried fairly often to create his vision in color but personally felt he failed. That he considered even his better (color) work to be lackluster. That he played with the English language in letters to friends.

And yet, he was not completely dismissive of color. I find it curious (and a bit obvious, in hindsight) that he considered all color tones to be a subtle lie. I find this to be self-evident: colors in photographs are representative, yes. But not spot-on, somewhat limited in their range, and sometimes misleading.

Having read this book now: I’m glad I did.  It’s heartening to see images from the greats that failed to match their mastery, and it’s equally heartening to see his mastery of exposure translated into color.

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Jan Saudek

Wednesday, March 31st, 2010

I just received a copy of Jan Saudek (by Taschen) from a gifter.  Thanks, anonymous gifter!

After just scanning through the first few images, I have to say: I’m a fan.  I big fan.  Rare is the photo that touches a part of the soul.  Jan has created many.

And they’re not ones that you might think, either.  An image of a father’s feet, with his infant’s feed also on the floor.  Instant hit to the animal me, remembering – no, feeling – what it was like to do so with my daughter.

I’m going to let this sink in for a few days, but wow – just a fantastic book.  I definitely need to see more of this man’s work.

Warning: his work isn’t for anyone who is afraid of nudes.  Especially nudes that border on pornography – he really pushes the limits. But he takes them to unexpected areas, and that makes it… fantastic.

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This will be a slow read

Wednesday, February 10th, 2010

Referring to “Within the Frame,” that is. Barely a chapter in & it’s making me think.  Take, for example, the most recent photo posted here. Decent, but I’m not sure it works.

I mean, the view was spectacular: clouds rolling in, overhead.  The sky blue, but going hazy – the sun was losing its strength.  But there, in the distance: yes, it’s light, hitting the mountain!  This is a great thing, if only I can show the contrast well.  And in that sense, I think it failed.

Early on, duChemin makes a point about color.  To paraphrase: if color doesn’t add anything to the meaning of the frame, don’t use it.  It will merely dilute the main idea.

Now, Mr. duChemin prefers monotones and duotones.  I’m not really sure what I prefer, although I do have a strong affinity for B&W – especially through NIK’s Silver efex plugin.  So I played around with a few versions, trying to get a feel for things.  What ended up being my favorite:

Hospital again, in B&W

Hospital again, in B&W

If you view it large, you’ll get the intended effect: the light on the mountains, darkness all around.

This was, perhaps, a tad overdone in processing.  But it makes two points: first, color wasn’t really an integral part of the experience.  Black and white rendering makes that distant brightness really stand out.  Second, the processing in B&W allowed me to focus on really driving in the differences in luminosity, which again drove in the point of there being light in the distance.

Besides, I also got to make it look coolish with the grain and what all…

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Within a frame

Wednesday, February 3rd, 2010

I’m definitely late to this party, but I’m just now starting to read Within the Frame by David duChemin. Back when it first came out, it was getting rave reviews by pretty high-ranking photogs: Joe McNally, Scott Kelby, virtually everyone I follow in my RSS feeder.  Well, I disregarded that to a certain extent: all these folks are ultimately tied together by Scott Kelby’s mighty empire, so I figured it was 60% marketing, 40% truth.

On review, it looks like Mr. duChemin has quite a bit of backing.  Barely two chapters in, and I’m already excited about reading the rest. To steal and paraphrase a line from the book: finally, a why-to book, instead of a how-to!

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Karsh and Hepburn

Sunday, October 25th, 2009

I want to give an example of what I meant yesterday when I said that Yousef Karsh would catch the person in his portraits and amplify the person’s personality.  Witness (follow the link, I don’t own it) his portrait of Audrey Hepburn:

There are several things about this photo.  First, it is much, much better in print.  It’s larger, there are better details, and it’s much more impressive. I believe that this is true of all of Karsh’s work.  See it in print, or you lose much of the intent.

Now, the subject is Audrey Hepburn.  Ms Hepburn is, of course, one of the most beautiful creatures to have lived on this planet.  But she was much more than that, even in 1956.  Go ahead, read the Wikipedia article on her.  It’s worth it.  When Karsh was doing her portrait, he captured a great deal of the suffering and sadness that went with her.  He also captured her elegance and her subtle strength.

This image is on the back cover of Regarding Heroes.  Again, highly recommended.

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