I spent an afternoon over the weekend wandering around the local woods. Not hard to do in this part of Connecticut – everything seems to be in the Woods! It’s nice but I find it a little claustrophobic. Fortunately there are lots of ponds and lakes too which breaks up the walk nicely.
The ponds are now starting to catch the falling leaves. It will be snowing soon enough.
I have enjoyed Robert Adams’ writing about photography immensely. ‘Why People Photograph‘ and ‘Beauty in Photography‘ contain a series of short essays covering topics such as collectors, humor, teaching, money and dogs and discussions of Photographers such as Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Dorothea Lange, Ansel Adams, and Minor White. His recent book ‘Art Can Help‘ continues in a similar vein and is well worth picking up.
As a photographer however he’s someone that I feel I should like but his photographs just don’t move me. It was interesting then to come across the two videos below and listen to him talk about what he’s trying to achieve with his work.
Check out the videos below and tell me what you think.
After running through a string a contemporary landscape photographers in recent weeks I could help but recognize that all of these were guys which made me wonder who were the women active in this genre. It was then that I remembered the fabulous book by Victoria Sambunaris, ‘Taxonomy of a Landscape‘ that I had recently came across. The book documents a decade long exploration of the American landscape and our place in it. In fact it’s two books, the companion volume collects the associated research materials and other bits and pieces that Sambunaris accumulated during the course of the project. A fascinating behind the scenes look into her process.
For more information on Sambunaris and her projects check out the video here and the embeded video below.
I’m continuing to dig deeper into the work of some of the photographers that were part of the New Topographics exhibition curated by William Jenkins in 1975. These were a group of photographers working to find ‘beauty in the banal’, making ‘photographs of a man-altered landscape’. In many ways it’s easy to dismiss this work as having a ‘snap-shot’ aesthetic and for some of this work I really struggle to connect with it. This week’s project has been Stephen Shore. If you read his biography one of the first things that is pointed out is that he sold his first photographs at age 14 to Alfred Steiglitz and that at 24 was only the second living photographer to have a solo show at the MoMA.
His work in the New Topographics exhibition was in color whereas the other 7 photographers were shooting in black and white. It’s interesting to reflect on the fact that at that time in the early ’70’s shooting in color was not what you did if you wanted to be taken seriously as an artist. Color was okay for magazines but not for ‘art’. Perhaps this further adds to the sense of these photographs being snapshots. In looking over this work and some of the subsequent work that arose out of these early projects I can’t help but think that this would be a great instagram feed and indeed you can find Stephen Shore on Instagram although I was surprised to find that I don’t connect with these photographs in the way that I do with the images in his books.
I often feel like I’m missing the joke when I look at contemporary photography and so it’s been useful for me to listen to Shore talk about his work in the videos below and lift the veil, at least a little.
I am generally happy to remain ignorant of the latest bells and whistles that the camera manufacturers have added in order to sell another piece of gear that no-one really needs. However, of late my head has bean turned by lots of new doodads. The latest in this parade of head turners is the updated version of Canon’s 100-400mm lens. I had the original ‘dust pump’ version of this lens which I eventually retired because it never saw much action and following it’s use I ended up spending a while cleaning the sensor on the body that it was used on. Having said that, there was a certain novelty factor to the way that the lens extended to change focal length. For the weight and number of times I used the lens I decided to leave it on my desk at home and make do with my very much lighter 70-200mm lens.
There are times however when the extra reach can allow you to make the photograph that you have in mind. The image above is a case in point. I’d tried with my 70-200, it really wasn’t working, click on the image below to see what I mean.
While getting closer was certainly an option I had an opportunity to use the new 100-400 lens and made the image below using the same settings as I had with my 70-200mm.
Immediately noticeable on the LCD screen on the camera was that the image made using the 100-400 was sharper than that made with the 70-200 even though all the camera settings and lens settings were the same. This in inevitably led me to wonder what if I dumped the 70-200 and replaced it with the 100-400 lens. That way I’d have a nice sharp lens capable of the extra reach when I need it. My only concern is the weight – a chunky albs. We’ll see how I get on!
In continuing my exploration of Japanese photographers I recently came across Nobuyuki Kobayashi. Kobayashi may be most well known for his work in magazines as a portrait photographer or for his humanitarian work but what caught my attention were his black and white landscapes. Landscape might be the wrong word, since for many it evokes the grand view and Kobayashi’s work offers a much subtler take on the land. He feels that he is taking portraits of the Gods and this delicate approach certainly comes through in the work of his that I’ve seen so far.
I find his process intriguing – use of an 8×10 large format camera, film and printing on traditional Japanese paper, washi. I’ve tried printing on washi in the past and found that the heavy intrinsic texture works against many subjects but Kobayashi seems to be making it work. It rails against the increasingly small format, mirrorless digital cameras and yet his choice of materials that should last for hundreds of years supports his goal of using photography as a tool to preserve the beauty of the natural world.
A section in a book that I’m reading at the moment provided a twist to the ‘you’re the average of the 5 people you spend most time with‘ idea that has been circling the internet for several years now. Specifically it said that if you’re the smartest person you know then you need to get to know some more people, if you’re the most creative person you know then you need to get to know some more people and went on like that for quite a bit. It’s funny that the Ninety Degrees Five group is five people – all are very talented and successful, if the alphabet soup of letters that they are able to append to their names is anything to go by – I wouldn’t mind being the average of this group by any means!
Of this group Christian Fletcher recently won Western Australian Landscape photographer of the year and International Landscape photographer of the year. He’s based in Dunsborough in South Western Australia, which looks like a fantastic part of the world if his photographs are anything to go by and is now on my list of places to visit. Christian seems to work predominantly with digital medium format cameras, which allows him to create large prints of his work, working with photoshop to fully extract the potential in each of his images. Check out the videos below to hear more from Christian himself.