The Online Photographer

Sroyon Mukherjee

I was pleased to learn that one of my favorite (and oldest) articles got mentioned and discussed in a new article elsewhere on the Web today. The new article is called "An Experiment in Looking at Photographs," and it was written by Sroyan Mukherjee, at 35mmc.

I actually carried out his 5X two-minute exercise (well I oughta!), and I also very much appreciated what he had to say about the exercise and, especially, why it works. He rightly mentions that it's difficult for many people to do...and, in fact, I haven't "read" a photo book by egg-timer for a long time now. (They say "three moves is as good as a fire," and in 2014–15 I moved twice, which was enough to lose a lot of things, including my old mini-hourglass egg timer.)

I read a study a while back that concluded that almost no one finishes news articles they encounter online. They read the first few lines or paragraphs then let their attention flit away like a butterfly. As soon as I read that, I determined that when I come across an article that seems to be worthy, I should read it carefully all the way to the end and maybe even read it twice. I can't read everything, naturally, but the idea is that I'll get more from reading one article carefully than I'll get from glancing superficially at more of them. I get The New Yorker magazine—one of very few magazines for readers left in the world—and I do that with The New Yorker too. I don't read every article, but the ones that engage me I'm careful to read all the way to the end and sometimes a second time. I just don't want the cacaphony of the attention economy to dictate the quality of my attention. Not to everything.

The quality of our attention is a big, big topic. I'm very tempted to amplify my thoughts on the matter further, but, here, I'd rather refer you to what Sroyon has to say about it in the context of photography, relative to the five photographs he chose—his comments are perceptive and engaging.

Suffice it to say: anyone who gets a stranger to look at one of his or her photographs for two minutes straight is lucky indeed.

Mike
(Thanks to Richard Parkin)

Book o' This Week:

Betty Edwards, Drawing on the Right Side of the Brain. The definitive 4th edition of this perennial bestseller, in print since 1979!

The above link is a portal from TOP to Amazon. The book is also available at Amazon Canada.

As an Amazon Associate I earn from qualifying purchases. Here's a handy portal to B&H Photo:

Original contents copyright 2021 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Sroyon: "Thank you Mike, for linking to my article and for your words of appreciation! And thanks also for your egg-timer post. I don't do the exercise as often as I would like, but when I do, I invariably get a lot out of it (come to think of it, this sentence applies to a depressingly long list of things). I was going to send you a link to the article myself, but funny story: after spending a good deal of time thinking about what photographs to include, speaking to different photographers, explaining about the project and so on, I remembered at the last minute that in keeping with the 35mmc post template, I also needed to pick a header image, so I hastily picked one of my own (the man looking at a painting in a gallery). 'Hastily' being the key word. When the post went live I was appalled to see the amount of dust on the negative, which I would have noticed if I spent two minutes (or even 10 seconds) looking at the picture—my own picture! (I'm generally not too fussed by dust and stuff, but this is pretty egregious.) So I thought I would re-scan the negative and fix the header image before I send you the link. I should have known someone would do it before me.... Now I think I will keep it as it is—a salutary lesson."

Joe Kashi: "This exercise is very similar to one of Minor White's very useful training exercises, 'reading photographs.' On the flip side, some years ago I was helping run a regional fine arts centered and we had a juried show that encompassed 45 good quality original pieces in various media. I remember timing one couple that toured the entire 45 piece show in 177 seconds from the time that they entered the door until they exited. That's under four seconds per piece, including walking from piece to piece in the fairly large gallery. Then consider that the average person's reaction time is two to two and a half seconds to recognize a new situation and begin reacting to it."

Richard Tugwell: "I print articles that I think will be worth reading. Generally I will finish them. Plus, you can scribble on them while you're on the bus/train. I always find the act of making a few notes helps cement things in your memory."

Geoff Wittig: "One of the current motivating ideas behind advertising is the notion of the 'attention economy,' wherein the resource being mined is eyes on the screen. Hence marketers and advertisers are becoming ever more creative (if that's the right term) in finding ways to grab onto our limited capacity to pay attention to things and to make sure we're paying attention to their goals, rather than ours. So I quite like the book How To Do Nothing: Resisting the Attention Economy. It discusses the issue in straightforward language and reasserts the truth that our time is ours, to spend as we see fit for our benefit, rather than the benefit of a corporate goliath."

Collin J Örthner "Back when my desk looked a lot neater and wasn't quite so loaded with things to do, I would take a book with me to work and open it to the first image. It would stay on that page for the duration of the day to be glanced at numerous times and gazed at for longer periods whenever I had a chance. Then, the following morning, I would turn the page. It would take quite some time to make my way through some books, but it certainly allowed me to absorb each image and come to a nice understanding of a book as a whole."

Mike replies: That's great. I could get into that.

Two New: Adger Cowans and Meshell Ndegeocello

I love it that there are so many artists out there who are completely unknown to me. Always somebody new to discover. And you never know when or how you'll do so. Ultimately, I have Black History Month to thank for these two, one a photographer, the other a musician, both new to me.

The first is photographer Adger Cowans, who is now 84. I found out about him through our friend Carl Weese, who sent me a link to a review of a photography show that appeared in The Nation. The show, at the Whitney, features a little-known group of Black photographers from the 1960s and '70s called the Kamoinge Workshop. Kamoinge is a word that in Gikuyu, the language of the Kikuyu people, means "a group of people acting together." The group when it was new was mentored by Roy De Carava, who was a half a generation older than most of the group's members.

Then Oren emailed to mention that some of the exhibit seems to be online—go to this link and then go to "Artworks" and click on each of the photographer portraits. The first one I investigated, Adger Cowans, is represented by only nine pictures, but the first two especially just blew me away—"Egg Nude" can stand alongside work in the same category by Edward Weston, and I love "Footsteps"—wonderful. He has a website, and there's more work there. He reminds me a little of David Douglas Duncan in the range of his visual interests. No little niches for those guys.

A few photographs are always just a clue, a lead so to speak. So how do I get to see more of this photographer's work? There is hope! There's a book. (Where there's a book there is hope.)

It will take me a little time to explore the rest of the Kamoinge Workshop members. Adger Cowans seems like a great start, though.

Songs like prayers
The second new discovery is a musician, and comes from my brother Scott—he's a big fan of NPR's Tiny Desk Concerts, and he sent me this link to a Tiny Desk (Home) Concert by Meshell Ndegeocello. She's had a whole career with me not even noticing, which always makes me feel like I've been living on a desert island somewhere. (This year, maybe I have been.)

I think you shouldn't enter into this unless you're in a reflective, contemplative mood, and willing to be openhearted. It starts off with a recitation of lyrics-as-poetry and continues with several songs that feel more like prayers. Scott said, "this is so peaceful." It is.

Mike
(Thanks to Carl, Oren, and Scott)

Book Product o' This Week:

Is it too late for this? 2021 is still young. There are two reasons to value these Michael Kenna calendars from Nazraeli Press: one is that his originals are 8x8", so these pictures are meant to work at wall-calendar sizes. The other is that Michael's calendars can actually increase in value! Dan Smith suggested this, and he reports that some older ones sell in the hundreds of dollars. "The printing is excellent," Dan wrote, "and the calendar is beautiful."

The above link takes you from TOP to Amazon. This week's pick is not available at Amazon Canada, but 2019 is. Hey, the pictures are still good. As an Amazon Associate I earn from qualifying purchases.

 

Original contents copyright 2021 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Colin: "Glad to hear you've discovered Me'Shell and thanks for the heads-up about this concert! We've seen her twice in London, both times were wonderful. If you're a Pat Metheny fan, he guested briefly on a track on her 2007 album, The World Has Made Me the Man of My Dreams, and she returned the favour by singing on his comeback album, From This Place. Her back catalogue is really varied—she made a jazz-adjacent album, The Spirit Music Jamia: Dance of The Infidel, Pour Une Âme Souveraine is dedicated to Nina Simone, but my favourite is the wonderfully heavy Comfort Woman."

Gary: "Sombitch, Cowans is a painter too. (See his website.) The paintings are not exactly to my taste, but still, a rare combination of talents. Thanks for the tip."

Photos for the People

Here's a nice story. A guy who works at a recycling center in the Shetland Islands, Paul Moar, discovered two bags of old slides turned in to be discarded. They documented local life on the Islands 30 and 40 years ago. A local history buff, Paul realized they were "a little bit of treasure."

The Shetlands, which are part of Scotland, are the northernmost outpost of the British Isles—about as far north as Anchorage, Alaska—and have a population of just 23,000 people, half of whom live within reach of the capital and the largest town, Lerwick, where the recycling center is.

The photographer turned out to be Nick Dymond, who used to run birding and wildlife tours on the Islands and was "just doing a clear-out." He has photographed around the world and his pictures of home didn't seem so special to him. He doesn't even own a slide projector to look at his old slides any more.

They've turned out to be a "sensation" to local residents, who feel like they've been given a window into their own pasts. Many are avidly identifying the people and places in the photos. For Shetlanders it's been a bright spot in troubled times.

Nick gave his permission for the photos to be digitized and put online, and for the 300-odd slides eventually to be donated to the Shetland Museum and Archives.

A fine feel-good photo-related story. The short article is called "A Glimpse of a Bygone Life on Scottish Islands, Plucked From the Trash," and it's at the world's greatest photography magazine, AKA the New York Times. Many readers tipped me about it. Thanks to all.

Mike

Paul Moar: "Hi Mike, thanks for your kind words and your little blog about it is actually much better than some of the newspaper articles I've seen! As someone commented to me, 'the right person was in the right place at the right time.' It's been nice to see it give a little uplift in theses trying times.  :-)  "

Book o' This Week:

In honor of Black History Month, an eloquent Black voice on the issue of race. Pulitzer-prizewinner Isabel Wilkerson's much-lauded book Caste: The origins of our discontents is a good book for our historical moment.

The above link takes you from TOP to Amazon. Here's the book at Amazon Canada. "As an Amazon Associate I earn from qualifying purchases."

Original contents copyright 2021 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Dillan: "This is what photography is all about. These photos have meaning. May they serve as a lasting record of the inhabitants and way of life of the people of the Shetland Islands. By the way, with so many of your articles, you keep reminding me to take more photos of people. It's hard to do at the moment, but when all this is over, I've got to try harder."

Mike replies: I agree, but with a caveat, which is that these photos are of people still well within living memory. Once people are outside of living memory, interest in most of them goes down quite a bit. It's because these photographs remind so many Shetlanders of their own history, and people they themselves remember, that they resonate so much. Another half century and most of the interest might be academic rather than emotional.

This is one reason I think stories are so helpful and that stories with pictures go together so well. Take for instance the mini-story of the person feeding the lamb. Doesn't it enrich the picture? It does for me. Helps me "see" his personality, almost literally, in that it "changes" the look on his face by reinforcing the meaning of his expression. A story can be as simple as a caption.

Thomas Mc Cann: "John Hinde was a famous postcard photographer and publisher in Ireland. Every tourist shop had his postcards for sale on display in racks. The advent of the internet killed the business. We were tasked with removing the contents of the company's premises. We had to dispose a very large number of filing cabinets filled with his original slides. Perhaps they had been digitised. Who knows."

Mike replies: I absolutely hate stories like that...much better when something like the Nick Dymond/Paul Moar story happens. Remember my post "The Trough of No Value"? That wall of glass plate negatives haunts me. There were masterpieces in there.

Sunday Support Group: The Elusive Owen Edwards

Egotism is annoying, but excessive modesty can be problematic too.

I like essays, and their less prestigious cousins, columns, as literary forms. (Blog posts are a still more junior relative.) One of my early heroes and models was a fellow named Owen Edwards, who wrote a regular column for American Photographer magazine (he was its exhibition critic. The magazine's name was later changed to American Photo). Unlike bat bombs, the smell of rain, and the color of the Universe, however, American Photographer magazine does not have a Wikipedia page.

Neither does Owen Edwards, so I really know very little about him...including whether the "Owen Edwards" bylines I keep running across here and there all belong to the same person. Here's one, for instance, from Smithsonian, about the way Norman Rockwell tells stories in a single frame*. Same writer? Seems so, on the textual evidence. (Consider this playful little sentence: "Serious art critics often dismiss Rockwell as a cautious and calculating master of the middle way, a kind of mild moderator of lives too sweet and too narrow." Sounds familiar, although I haven't read those old AP columns for years and years.) Or this little article about the best management memo ever, dispensed by a tough-as-nails Marine Corps General. That one, from Design Observer, has an author photo, the only one I've ever seen for O.E. (if it's he), but as usual the bio says nothing except "the writer of this has written other things."

Owen Edwards, I think. Maybe.

If only the guy had a little more ego, if he would spend more time and effort on self-promotion—you know, toot his own horn a little more loudly—reveal more—disclose!—he might be easier to track. You can't go anywhere to get away from some types of celebrities these days, but each of us has a different definitions of what a celebrity is, based on what we ourselves value. It seems like the people who are celebrities to me always go hiding their light under a bushel.

So my question is, how long am I going to have to wait for Selected Essays and Articles of Owen Edwards? Or, more selfishly still, The Photography Writings of Owen Edwards? Because I don't mean to sound impatient, but I don't have forever. I'm beginning to get up there a bit. According to this Life Expectancy Calculator, the most realistic projection, statistically, is that I'll die at 83, which is 20 years from now. Considering how little I have to show for my other twenty-year periods on this globe, the thought that I might have only one more is a sobering thought. I recall that my most inevitable regret in life was crystallized when I saw it on a needlepoint pillow in a boutique in Harbor Springs, Michigan: "So Many Books, So Little Time."

Anyway, I've been waiting to re-read all of those American Photographer columns for many years now, and the window of opportunity for me to see such a book has now narrowed to 20 years give or take. Whoever "Owen Edwards" is (given that all I know about him is that he's a writer who has written things), I wish he'd get on the stick. I'd really like to buy that Best of... book.

While I'm on the subject, we need a Collected Writings of John Szarkowski and a Best of Richard B. Woodward, too.

I should live so long!

Mike
(Thanks to Becky Barnicoat and
Maximilian Zender for those Wikipedia pages.)

*It reminded me of this video, "Why THE FAR SIDE is a masterclass in storytelling" from The Gaze.

Book o' Last Week (new one coming up):

Peter Lindbergh On Fashion Photography, with text in English, French, and German. Original coffee table version or small 40th Anniversary version, take your pick. Both are hardcovers. The links above will whisk you away to Amazon.

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Kenneth Tanaka: "Re 'If only the guy had a little more ego, if he would spend more time and effort on self-promotion—you know, toot his own horn a little more loudly—reveal more—disclose!—he might be easier to track': Owens seems to be one of the great many legions of wandering tinkerer wordsmiths who make a living caroming between odd jobs of disposable work. And he’s probably been quite happy at it, too. Little of this, little of that, just like someone else we all know. There does seem to be a book of some of his essays available.

"Back to photography: I’m actually in the middle of whittling a short piece on two photographers, both now deceased, who made their way in the world of mid-century imaging essentially as wandering tinkerers. But unlike their countless peers, these snappers’ works easily rivaled, and indeed surpassed, much of the most renowned works by their much better known (more 'egotistical' self-promoting) contemporaries. Fortunately they each have a couple of books currently available as mementos of their works. More soon."

Michael: "Thanks for the link to The Gaze. Excellent piece."

Mike replies: It's really as good as a very fine magazine article or essay, isn't it? But told—effectively—in the medium of video.

David Aiken: "At the side of the article about General Shoup, there is the following note about Owen Edwards: 'Owen Edwards is the co-author of the design book Quintessence, and the author of its sequel Elegant Solutions. His latest book, Caught in the Act, a collaboration with Howard Schatz and Beverly Ornstein, was published in October of 2013.' I think you already have a couple of books you can chase down.  :-) "

Mike replies: Not really. Those don't fulfill the brief of collecting of his writings on photography...even though Caught in the Act is a book of Howard Schatz's photographs.

Celebrating Close-Up Photography

The Atlantic (the no. 1 "must-read" magazine in the United States, in my opinion, just by the way) has published a selected portfolio from the second Close-Up Photographer of the Year Contest. "The contest 'celebrates close-up, macro, and micro photography,' among seven separate categories. More than 6,500 entries were received from 52 countries this year."

Be sure to look at the portfolio in full screen. You can link back to all the winners from the link. If you've ever tried serious macro photography you'll know how difficult some of these were to do. Especially gob-smacking subject: "The most invisible animal I've ever seen." See if you can spot it on your first pass through....

Mike
(Thanks to Jim Hayes)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Rob de Loe: "For fans of close-up photography, I want to offer a shout-out to Robert O'Toole and his terrific website. So often we limit ourselves to the lens options that manufacturers say we should use. In reality, there's a cornucopia of amazing lenses out there for close-up photography in surprising places. Robert is busily trying them all and providing a wealth of information."

Meta-Analysis of the iPhone 12 Pro

As you might know if you're in the Apple ecosystem, the iPhone 12 Mini and Pro Max drop this Friday.

My favorite diet doctor, the esteemed Michael Greger, likes meta-analyses. A meta-analysis is "a statistical analysis that combines the results of multiple scientific studies" (Wikipedia). Well, Amazon's Digital Photography Review, known as DPReview, because it was "unable to get ahold of review units," recently published a meta-review—a roundup of multiple iPhone 12 Pro camera reviews from across the Web, in longform (that's what we're calling text now) and video formats. It summarizes five advance reviews: from MKBHD, The Verge, Engadget, CNET and Andy To.

Andy's is just a video, but what a video. That guy is talented. I couldn't do that if I got to start all over with a fresh lifetime to practice. That said, there seems to be something mildly wonky with it technically—it's all a little greyed out or something. At least on my monitor.

One-line executive summary meta-meta review of the iPhone 12 Pro's cameras? Might go like this: Best ever, but maybe not enough difference to justify upgrading.

(There's the modern device product cycle in a nutshell, just sayin'.)

More reviews, surely, to come. (Just on a lark, I requested a 12 Pro Max to review. Haven't heard back.)

Mike
(Thanks to Mike Scott)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

Thank you to all our Patreon contributors

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

robert e: "Yep, at least some of Andy To's footage has somewhat subdued contrast and/or saturation, and possibly a slight bias toward sepia/grey. I can't speak to Andy's intentions, but I see this a lot these days in ambitious work, and in some cases at least I suspect an attempt to reproduce, or at least evoke, the look of projected film. It may be an in-camera filter, but I'm curious in general about the amount of in-camera vs post-production processing involved here. Overall, it's an excellent demo reel, and a great example of the centrality of editing—and more generally: rhythm—to the art of cinema."

Gordon R. Brown: "Here's another take on the iPhones from John Gruber of Daring Fireball."

Tim Fitzwater: "It's a style of color grading. A lot of modern YouTube was originally influenced by the teal/orange look (think Transformers). Now a lot of channels have tweaked it to have their own style. I think it will all look very dated down the road, but that is how everything goes right? Also—it is all in post-production—they are shooting in 'log' which used to be the closest video had to RAW—but now a lot of good cameras have RAW video so...."

 

Toot! (Thanks, Robin Wong)

As you might have noticed, I don't toot my own horn on this site much. Lord knows it's enough about me, me, me as it is, just because I'm the "I" who writes it. I figure it doesn't need any extra added ego—it's got enough already. So I tend to not feature comments that praise me, don't tend to push my own work forward (to the point that readers complain), and try not to make inflated claims of my importance or expertise (the more you know, the more you realize how much you don't know). I also try not to contend with self-appointed experts—the whole "dueling egos" thing bores me. (I had to referee several such tempest-in-a-teacup battles when I was a magazine editor.) There's room for everyone. The way I look at it, I might know more about photography—certain aspects of photography, anyway—than some of my readers, but the likelihood is very high that you know a lot more than I do about your field(s) of expertise. That thought keeps me from getting a big head, and I keep it front and center.

Robin Wong

Still, it's nice when somebody else says nice things about me. Robin Wong is a video reviewer who is already familiar to many in the photographic world. Born in the City of Kuching, Sarawak, on the island of Borneo in Malaysia, and an alum of the University of Western Australia in Perth, he was a civil engineer by training who started out writing mostly about Micro 4/3 and eventually joined Olympus Malaysia as a product specialist. Later he was a contributor to Ming Thein's popular website (a list of his articles for Ming can be found here). He originally conceived of his own photography as a creative counterbalance to his highly technical career, and he's the originator of the phrase "shutter therapy"—the notion that getting out and going photographing is a nice way to counteract the blues, engage with the world, and experience and communicate the joy of seeing. I know, and know of, many photographers who have felt that way about it. Too seldom do we stop to consider that it's a lovely hobby and a great pastime, whatever our level of engagement with it.

Anyway, I want to thank Robin for the too-kind things he said about me in one of his videos from a few days ago (starting at about 8:45). Of course I feel he overstates the case, but at the same time for some reason I'm disinclined to argue.  :-)  Very nice of him—and thank you kindly, Robin.

Mike
(Thanks to many readers)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

Thanks to all our Patreon contributors!

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Anton Wilhelm Stolzing: "Wow, Mike, you are the one who brought us the term bokeh??? You are a genius!"

Mike replies: Brought you? Sort of. Carl Weese explained the concept to me, and John Kennerdell, Oren Grad, and Harold Merklinger wrote the articles. The original term is Japanese. I changed the spelling, and publishing the articles kicked off the popularization of it in the West, is all. Or perhaps, rather than "popularization," we should say the awareness of it, since of course it always existed.

Here's the lowdown.

Four Distractions for You

Well, it looks like I'm taking a small unscheduled break, without, at first, intending it.

On Wednesday, purely as an indulgence and as a way of distracting myself from what has become The Great Wait (for the incompetent States, I want to add, but don't be snarky, Mike, don't be snarky), I started writing a post called "How to Buy a Pool Table." That would have been for "Open Mike," the "often-off-topic Editorial page of TOP," which I try to post on Wednesdays.

At the same time, the weather turned nice. We have had almost nothing but rain here for three weeks, although there was one sunny warm day and one snowfall, our first wintry day of this year. (The light was wonderful that day.) Tuesday was another warm sunny day, so I also distracted myself by working a lot. I have a balcony porch in the back of the house that was actively decaying and sorely needed attention, and I used the nice weather to finish all the repairs on that and to get two coats of stain on it. Then I mulched leaves till dark. Mulching leaves is a good enough way to clean them up—I have a riding mower and a push-mower, and the push-mower is the one that has the mulching blade on it—but I need dry weather to do it! Can't mow leaves in the rain.

And the good weather, like the Great Wait, has continued. Despite two days of working on it (in between bouts with the paintbrush and the lawnmower), I have not been able to finish the pool table post—in fact, I'm not even half done with it, such that I could post it as a "Part I." Today the weather report is for 68°F (20°C) and sun all day, so I'm going to get ambitious—I'm going to try to get a coat of stain or two on my back deck. Which is pretty extensive, as it includes the wooden walkway to the barn and pool shed (I need a name for the pool shed. Maybe I can mull over that as I work).

In case you're looking to me for your distraction, I'll pass along these links sent to me by various readers:

Chris Killip 1946–2020. Photo by Kent Rodzwicz.

—Chris Killip, the British documentary photographer best known for his work among the lower classes in the north and later a Harvard professor, died of lung cancer on October 13th. Here's an obituary from Harvard that includes examples of his work.

—Darin Boville, a TOP reader, has written an extensive two-part review of Rebecca Senf's Making a Photographer: The Early Work of Ansel Adams (here's the book on Amazon—I only provide a purchase link to it because Darin doesn't. By the way after an abrupt break I am apparently an affiliate again, to my great relief). Darin is a new blogger and could use some eyes. Becky Senf is Chief Curator at the Center for Creative Photography at the University of Arizona in Tucson, one of the premier institutions in the U.S. in the field of photography. CCP holds Ansel's extensive archives.

—I still haven't gotten around to watching "Bokeh is overrated," a video on YouTube, though several readers thought I should. You're on your own with this one. I suspect I might agree with some of what the makers have to say. I will try to get around to watching this someday.

—New Lumix S 85mm—I suspect I'm like a Pavlov's dog with regard to 35mm and 85mm lenses. They just trigger the endorphins. A recent article I read about going to chef school said that some real chefs have only one large and one small kitchen knife (plus perhaps a bread knife), and if that's true then the 35mm and 85mm focal lengths (or equivalents) are my large and small knives. I've been shooting with those two forever. (All of the post about Andrew S. the spice-rack maker was shot with those two lenses, to name just one very typical fer-instance.) Anyway Panasonic has announced a new 85mm prime which, at only 12.5 ounces / 355 grams, seems to go against the recent trend toward larger, heavier lenses.

Now off to work! Miles to go before the sun sets. Hope you find some comfort in distraction yourself, too.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

Thanks to all our Patreon contributors!

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

scott kirkpatrick: "On Killip. I have always liked his photos but knew little of his course in life. Reading up, it turns out that after a few years in the 'big show' in London, he discovered that photography could be pursued for its own sake, and spent the next 10–20 years working out of his caravan with a field camera in dicey places around England. When he concluded that his approach had become dated (in the light of Martin Parr's and Lee Friedlander's hand cameras with attached flash), he accepted a lectureship at Harvard. He stayed for the next 10–20 years, becoming Harvard's Carpenter Center's equivalent to Richard Benson, a craftsman/artist administering a visual arts program. How's that for a high degree of self-awareness and a soft landing?"

Nigel Voak: "I was sad to see the passing of Chris Killip. Killip was on of that great crop of UK 'documentary' photographers that came out of the UK in the eighties and who now seem to have been forgotten as photographic fashion has shifted to 'conceptual' photography."

Dan Jansenson: "Regarding Chris Killip, a very nice article, with several links, was published in the Guardian."

Open Mike: Readings, Movies, and Music

[My apologies! I finished this this morning and thought I published it around 11:00 a.m. But apparently I just forgot to click the "Publish Now" button. That's only happened rarely in years of blogging. Anyway..."Open Mike" is the off-again on-again Editorial Page of TOP. Today's is a grab-bag. When Yr. Hmbl. Ed. is caught up with himself, it appears on Wednesdays. Even if only barely.]

-

Strange & curious: Been feeling like a hermit lately? You've got nothing on Christopher Knight:

For decades, the residents of Maine’s Kennebec Valley believed that the North Pond hermit was a myth. According to local lore, a hermit had been living undetected in the woods since the 1980s; every so often, he would break into seasonal cabins to steal food and other resources. But no one could prove the hermit’s existence—if he was out there, he had taken great pains to guarantee his isolation.

Then, in April 2013, a man was arrested in the deep woods of Maine. His name was Christopher Thomas Knight. According to societal records, he didn’t exist. For 27 years, he had camped out in the forest, surviving on meager supplies that he’d burglarized from houses in the area. He endured winter temperatures of 20 degrees below zero. Every morning, he watched the sun rise over the foggy valley that he called home. He hadn’t had a single conversation with another person for nearly three decades.

His greatest challenge was surviving the Winters. He would deliberately fatten himself up at the end of the Summer and into the Fall. A night camping in the throes of a Maine Winter is not for the faint of heart; a week of it qualifies an outdoorsman as a tough guy. In twenty-seven years at his encampment in the woods, Knight never slept in anything but a tent. The cold was so intense it drove him close to suicide. He would wake himself at 2:30 in the morning in the dead of Winter because he knew he stood a better chance if he faced the worst of the cold awake. "It's dangerous to sleep too long in Winter," he told the reporter who visited him in jail.

But apart from finding an intellectual who loved to read (and loved Lynyrd Skynyrd!), who knew who the Kardashians were, and was so averse to human connection that he seldom made eye contact, the reporter could get little out of him about the central mystery, "why":

Anyone who reveals what he’s learned, Chris told me, is not by his definition a true hermit. Chris had come around on the idea of himself as a hermit, and eventually embraced it. When I mentioned Thoreau, who spent two years at Walden, Chris dismissed him with a single word: "dilettante."

The first quote is by Emily Buder. The second is from a long article in GQ from 2014 by Michael Finkel called "The Strange & Curious Tale of the Last True Hermit." Fascinating article; recommended if you think you're "isolating"!

Snob about fiber-base: When I was young I was a snob about fiber-base black-and-white papers. They were the traditional material, made the old way. RC paper was "plastic," and was tainted by its early reputation for self-destructing. Good for intermediate prints and prints for repro only. Don't extrapolate this any further than it goes, but I will say this: I have plenty of workprints made on Ilford RC papers from thirty and thirty-five years ago, and they look  as fresh and clean as the day I made them. I can't say if they'll last 70 years, or 200. But I like their chances.

Opinions about Bogart: I'm mildly a fan of movies made before I was born, especially the genre called "Noir," and if you like Noir you'll have opinions about Bogart. In his top three for me (the other two are The Caine Mutiny and of course Casablanca) is a little-remembered suspense thriller about a writer. To enjoy In a Lonely Place you can't focus on the murder mystery, which is nothing but a sub-plot—you have to get into its psychological portrayal of the doomed love affair. Movies that take this tack have to resonate with you in some way or they might not appeal much. But they can be deep and meaningful if they do touch you.

In a Lonely Place was directed by Nicholas Ray, who directed Rebel Without a Cause and influenced Godard and the French New Wave. It co-stars his now little-known wife, Gloria Grahame. Their marriage broke up during the filming but the two kept the breakup secret so as not to jeopardize the project. The script departed greatly from the book, and the director and actors departed greatly from the script—Ray cleared the set and crafted a new, more subtle ending with the two leads when the planned finale, which had already been shot, rang false. The movie creates characters who might now be understood as having what's called an avoidant/dismissive adult attachment style, but with sympathy for the tragedy inherent in being trapped in such a state. Glenn Erickson of DVD Savant put it beautifully:

Relationships are delicate animals—they can be killed by the wrong words, the wrong actions. Dix and Laurel are madly in love with one another, but that trust is destroyed when her terror and his rage go over the edge. It doesn't matter that he's innocent, or that they are both in intense remorse over what happened. It can't be taken back, and the romance is finished. Both will have to go back to their personal 'lonely places.'

Brilliant lines of criticism—so very much on the mark.

Of course another reason I love old Noir films is for the black-and-white. In a Lonely Place was shot by the cinematographer Burnett Guffey, who also did Bonnie and Clyde, a movie whose cinematography is naturalistic and plainspoken. Cinematographers have trouble being artists because they seldom get to pick their projects; the best they can hope for is to become the go-to of a great director. Guffey was a get-it-done pro whose life's list of accomplishments is a motley of good and bad, television and film, the trivial and the profound. But In a Lonely Place is as outstanding in 1950 B&W as Bonnie and Clyde is in 1967 color. A treat. I'd like to see more of his work.

Gloria Grahame and Humphrey Bogart in In a Lonely Place

Carrie Rickey of The Moviegoer considers the performances the best of of both Grahame's and Bogart's careers. The most disturbing thing I've read about the film? Louise "Brooksie" Brooks said that of all his roles, the role of Dixon Steele in In a Lonely Place came closest to the real-life Humphrey Bogart she knew.

As with all old Noirs there are numerous versions floating about. The print on Amazon Prime Video is great, and it's available on DVD and Blu-Ray from the Criterion Collection.  

Young Girl Blues: Like guitar? My good old friend Kim's latest is a lilting and wistful mix of guitars across genres—indie, Brit-folk, blues, alt, folk-rock. It's been raining here for a week, and it's a great hour's listen on a rainy day. I loved the Band of Horses song, which I had never heard before. And yes, the "cover" art of Young Girl Blues is in beautiful black-and-white.

Something I happened to hear on XM Radio in the car: it's a version of Led Zeppelin's "Going to California" with the vocals removed. It's one of those songs I've always loved and never tire of, but I found it fascinating how much the vocal serves as another instrument and another line, and how different the music sounds as an acoustic instrumental. Just a curiosity. Lend an ear if you're so inclined.

Aromatically yours: One final reading. Another of my old friends you've met in these pages before, Jim Schley, just published a review of a new book of poetry, Elizabeth A.I. Powell's Atomizer (Amazon).

Vermont poet Elizabeth A.I. Powell's way with words is daring, sardonic and ingenious. She enjoys mixing registers and realms—pop and literary culture, consumerism and religion, self-help and sacrament.

That just makes it sound like something I would enjoy.

The structure (or "scent and architecture," as Powell puts it) of Atomizer is fascinating. Along with its zany variety of forms, the book has a powerful through line, investigating the ancient, arcane and insidious role of perfume, tangled in seduction and deceit. The three sections of the book are named for terms used to categorize layered qualities in synthesized scents. "Top Notes" are "that which evaporates most quickly"; "Heart Notes" are "the distinctive aspects, most...charming, most intelligent"; and "Base Notes," the poet avers, "stay the longest...heavy and deep."

I liked the little tastes and teasers so much I had to order the book. Jim's reviews do that to me every so often. Here's Jim Schley's review of Atomizer, at Seven Days.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

Thanks to all our Patreon contributors!

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

HR: "With regards to your comment about RC papers I am reminded of this.  :-)  'We should be careful to get out of an experience only the wisdom that is in it and stop there lest we be like the cat that sits down on a hot stove lid. She will never sit down on a hot stove lid again and that is well but also she will never sit down on a cold one anymore.' —Mark Twain"

Mike replies: Thanks! Yes, that. In this case I can only personally recommend Ilford RC papers. I used several others too, decades ago, but they're gone now.

David Evans: "I'm really loving Young Girl blues. I'm not familiar with Mixcloud—is it possible to see individual track information?"

Mike replies: Only if you sign up for a Premium account, which is $8 a month. But there's another way for most cuts. Download the Shazam app from the App Store. It allows your phone to listen to music, compare it to a database, and identify it. Kim will fool it sometimes because his mixes sometimes include extremely esoteric and rare music, but most of the cuts it will identify. I'll ask Kim if he can provide a set list for Young Girl Blues.

Kim was a legendary disk jockey at WHFS in Washington DC back in the station's heyday.

Bob Curtis: "Michael Finkel expanded the article into a book, The Stranger in the Woods [Amazon]."

scott kirkpatrick: "My favorite Bogart has always been Treasure of the Sierra Madre, which captures the bottled anger in 'Nobody puts one over on Fred C. Dobbs!' But I wasn't aware of In a Lonely Place, which leaves out the humorous touches and the sentimental ending, and thus is truly terrifying."

David Comdico: "In a Lonely Place is my favorite Bogart film. It peels beneath the surface of the Bogart character. On the other hand, Johnny Guitar [Amazon Prime Video] is my favorite film by Nicholas Ray. He was a real American original."

Keith B.: "Burnett Guffey's outstanding lighting in Bonnie and Clyde may feel naturalistic, but is actually fairly romantic in style. Naturalistic cinematography (no theatrical lighting, existing light taken as found) was then, and is still, considered too ugly to be employed for commercial narrative motion picture storytelling. There are exceptions, but not many."

Andrew Bearman: "Thank you for turning me on to Mixcloud and to your friend Kim's sets. I am now willingly lost in the woods of great music! And that Bogey still captures a look that only an experienced, weary cat like he could give. A look not too far from how many of us have felt at least a few times during this pandemic. Off to watch In a Lonely Place."

johnbabineau: "Hunch re KK’s Mixcloud: Handstanding athlete on diving board is the actress Doris Day. KK’s comedic gifts endure...."

Animesh Ray: "Your post made me remember a funny experience. I used to do extensive black-and-white printing for work when I was a grad student in the late 1970s–early 1980s. This was related mostly to printing of black-and-white photomicrographs and autoradiograms, for which we were supposed to print on multigrade silver gelatin papers. After that period I did not do any darkroom work, because most of those tasks was taken over by Polaroid for B&W or Kodachrome slides for color.

"Some 30 years later, in 2003, I wanted to do B&W printing as a hobby, so I went to the local city recreations department, which had a darkroom for the photo enthusiasts. The deal was that the use of the darkroom was free if you passed a test; otherwise you would need need to take a two-week course on printing. So I thought I would take that test. As it so happened, I had never heard of RC papers until that time, as I had only used fiber papers in the past—in fact we never called it that! We just called it a printing paper of a certain grade. All the test questions had to do with how to print and process RC papers, so to my utter disbelief I ended up failing the test. In science, we often feel like hermits stuck in lonely towers."

Wiki Loves Monuments 2020 Contest

Photo by MichaelDPhotos (CC BY-SA 4.0)

There must be a lot of historic sites near anyone that they don't know about.

Wikipedia and Wikimedia Commons are having a contest to encourage contributions. You can provide fresh photographs of historic sites in the U.S. to help them in their mission. There are a few modest prizes, but I suspect the prize money is not why anyone would do this—it's more that it's a fun way to get out and look around, a way to provide a purpose for photographic jaunts. Sort of a general assignment to give shape to your activities. I have a friend who does this, and it's been motivating and involving for him. He's in an area of the country that's new to him and his wife and they've found it's a nice way to explore their adopted community and the surrounding regions.

Here's the contest page. You can read about it there, but basically you're tasked with finding recognized historic sites local to you and photographing them for the database.

Sounds like it could be fun. A new way, perhaps, to get out and explore your area. The contest lasts through the end of the month but if you enjoy doing this, there's no time limit on contributing to Wikimedia projects.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

Thanks to all our Patreon contributors!

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Richard Tugwell (partial comment): "For folks in the UK (or England anyway) Historic England has a feature allowing users to contribute images and other things to the Listed Buildings archive. No prizes though, but quite rewarding."

Geoff Wittig: "I got excited by this idea since I know there are quite a few historic rural buildings near me. I got more excited when I saw one of the sites was an impressive and unusual barn quite close to my home. Surely I could photograph it in perfect light looking its best.... Then I remembered. This barn was photographed by David Plowden, as part of an entire book of beautiful barn photographs. Plowden gave a presentation about the project at George Eastman Museum about 15 years back, and I got to talk to him about it. He was exceptionally polite. Pretty unlikely I'll take a better photograph than David Plowden did."

Mike replies: But do they have a good photograph of the barn on the existing Wikipedia page? If not, then yours might still be needed.

MikeR: "Following their proffered link, I found a list of historic sites in Pennsylvania's Montgomery County, and was surprised to find that I live near, or near enough, to at least a dozen of them. In some cases, I already have the images."

tuco and STEPHANE

[Ed. note: This is an extra post written on my day off, because I know I'm writing too much about large format. There are a few more to come, too. If you don't like these discussions, don't worry; the weather always changes on a blog, eventually.]

-

First a quotation. I've been doing a lot of roving about the internet (now, is it supposed to be capitalized, or not? I've lost track of the arguments) looking into large format stuff. I wanted to share two small things I ran across. One comes from a thread on flickr (I believe that's not supposed to be capitalized), and was written by one STEPHANE GUILLAUME, who wrote his name using all caps. STEPHANE wrote (I've edited his punctuation here, including changing "sinar f" to "Sinar F"):

Film does have a learning curve. I use a Sinar F and a 135mm lens. Scanning is done on a V700. I develop and scan all of my shots. Best advice I can give, start with one camera, one lens, one film type. Film is all about finding just the right light. You can't just shoot anywhere and have amazing shots. You have to find good light to shoot in.

As they say in Baltimore, true dat. He puts it nicely, in fewer words than I could have. (I evidently have too many words—I've been getting them out for years, yet there are always more.)

The second comes from someone named tuco, and we're back to no caps again. tuco (oww—how painful it is to an editor to begin a sentence with a lowercase letter!) found a model who would work for peanuts. But there was a downside. Models are so demanding, aren't they? Have a look and read about it.

That model's furious expression makes me smile. Cute little guy.

I like tuco's technique, too. Here's a picture of an old camera like the one he uses. These are not folding field cameras; they are called self-casing cameras, like my Rochester Optical Pony Premo. The difference is subtle; it has to do with the word "folding." You don't have to fold up a self-casing camera. It just retracts directly back into its box. Note too that both tuco and STEPHANE use lenses of the same focal length—135mm, which is about like 40mm on a FF camera*.

Reversible back, on my new old Wista. Left, portrait/vertical
orientation, right, landscape/horizontal orientation**

The difference between a Speed Graphic and a Crown Graphic—both were made by Graflex, Inc.—was that the Speed had a focal-plane shutter and the Crown didn't. Hence, the Crown was a little lighter and simpler. To get a cheap view camera (Graphics are press cameras), people used to "hot rod" Crowns by removing the rangefinder and some of the less useful appurtenances. Their real limitation as tripod view cameras is that the back isn't "reversible," meaning you can't switch it from horizontal, also called landscape, orientation to vertical, or portrait, orientation. The reason for that is that Graphic shooters would simply crop if they wanted a vertical. They were newsies—photojournalists—and their work was cropped ruthlessly all the time anyway, by editors showing only what was relevant and by compositors fitting the pictures to the column.

Cropping to a vertical is what Martin Munkácsi did with "Three Boys at Lake Tanganyika," which we saw here the other day. Martin liked to talk as if he were a 35mm shooter—the coming thing in his time—but mostly he preferred to shoot with larger formats and then crop, sometimes radically, to pluck out of his frame some part of it that he considered a strong composition. Sometimes he made pictures of surprisingly small bits of his originally much larger negatives.

My now 16-year-old niece, Hadley, does this instantaneously and reflexively with the pictures she takes on her iPhone and iPad. Her fingers fly so fast you can hardly see them as she works the screen of her iPad. She'll look at a picture and, zoom zoom, crop it the way she wants it with a few finger-flicks. She probably doesn't even realize it, but her cropping skills are practiced and fluent.

If I were a photography teacher now, I'd send students out to do this on purpose. Find a smaller composition within a larger one, take it with the wide or normal view of the phone camera module, then crop it down to what they visualized, to see what it looks like. Exercises like this help our seeing. Once you've got the knack (or so I believe), you've got it.

Mike

*The correspondences aren't exact, but, to convert 35mm (FF) focal lengths to those for 4x5 (5x4) inch or vice-versa, multiply or divide by 3.3. That gets you about as close are you're going to usefully get. Remember that the image on a 4x5 negative isn't exactly 4x5 inches, it's a bit smaller (and you don't know by how much, because film holders aren't standardized), and that the aspect ratios are different—meaning that precision is impossible. (Let's not argue that, okay? It's supposed to be my day off.)

**There are two ways you can tell these were shot with an iPhone. Can you spot both?

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

Help support The Online Photographer through Patreon

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Scott: "1.) We can see you taking the picture in the reflection 2.) You seem to have used Portrait mode, as things in the same plane show different degrees of in-focus. Did I win?"

Mike replies: Yes! You win.

Crabby Umbo: "Tuco? Like Eli Wallach in The Good, The Bad, and The Ugly? 'When you have to shoot, shoot, don't talk.' Now that's advice for a photographer!"

AlanH: "Yep, good light is certainly wonderful, but I prefer to follow something Brooks Jensen said, 'Find a subject that fits well with the light you have.' That's probably not a correct direct quote, but you get the idea."

Mike replies: That's good advice too. It came to me one day during the time I was wandering around DC every day with my Exakta 66. I was bemoaning the overcast skies and the lead-colored landscapes one day when it came to me that the light was perfect for portraits! Nice and soft, no hard shadows.

Taos Water Girls

Edward S. Curtis, Taos Water Girls, 1905

Whenever I get an email about some auction or other, I usually find something being advertised that charms me.

I know Edward S. Curtis's work and I seldom see one of his that I've never seen before. Correction, a good one of his, because every photographer has second- and third-rate pictures that haven't been widely published or seen.

Edward Sheriff Curtis, of course, was the protean but problematic documentarian of Native Americans at the end of the frontier period. Few photographers ever worked harder, but his pictorialist style and ethnographic assumptions don't fit well with modern ideas or tastes. My favorite book of his is Native Nations, the Calloway title with stunningly great reproductions. To my surprise, this book is still easily available for very reasonable prices—it's a beautifully produced book and I highly recommend it, to photographers, fans of fine printing, photobook lovers, Curtis fans, people interested in the Wild West or American Indians, or any combination of the above. There's a copy on Amazon for $24.91, and that's a steal for a book of this quality—new, it cost $60, and that was in 1993 dollars ($107 today).

...And there it is: "Taos Water Girls" is on page 65. Thought so. But it's one of the pictures the book's reproduction—dark and rich—doesn't suit. (There are so many that it does suit.) I was more charmed by this higher-keyed JPEG at the auction site. The writeup says that only about one in 500 of Curtis's prints are platinum prints. I'd love to see this someday as he printed it. Visualizing this JPEG in my mind as a platinum print makes me suspect it might be something special.

Unconscious style permeates eras
Curious, isn't it, how the style of 1905 comes through so strongly? "Taos Water Girls" puts me in mind of things like Gertrude Käsebier or something by one of the Brandywine School illustrators, maybe Howard Pyle's "Two Lovers in the Garden" (I couldn't find a date for the illustration—although you can buy it framed from Wal-Mart! What a fate—but Pyle died in 1911).

Gertrude Käsebier, Blessed Art Thou Among Women (1899)

Howard Pyle, Two Lovers in a Garden

Here's the writeup for "Taos Water Girls" at the auction site:

About This Lot
Taos is the northernmost of all the Native American Pueblos. It is located in present day New Mexico and was first visited by outsiders in 1540. The Pueblo had already been occupied for centuries at that time. The young women in the photograph are carrying water back to their pueblo in beautiful traditional jars. The trees on either side of them are cottonwoods, which are often found near mountain streams in the southwest. The sky is contrasted with the deep, rich foreground makes this image unusually compelling and three-dimensional. It is estimated that as few as 1 in 500 Curtis prints are platinum, making this vintage platinum print all the more desirable and rare. This print was created by hand in Curtis’ [sic] Seattle studio.

Bids start at $5,000 for the print.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

You can support The Online Photographer via Patreon

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Geoff Wittig: "When Curtis was active, platinum printing was popular among fine art photographers and pre-coated platinum papers were commercially available. But his images were mostly experienced as photogravure reproductions, both in his magnum opus The North American Indian and as separate prints. Photogravures are pretty sympathetic to the tonality and 'feel' of platinum prints. I got to see the large collection of Curtis prints on display at the Crazy Horse monument in South Dakota some years back. They're amazing. It was worth the trip just to see them. Which made me pull out my copy of the late Richard Benson's wonderful The Printed Image (2008), a compendium of all then available methods of photo reproduction. Benson's explanation of how a photogravure works is a model of clarity. And unfortunately the book is now a collectible going for >$250."

Mike replies: Hopefully everyone who was reading TOP in 2008 bought Richard Benson's book, as it was our "Book of the Year" that year. And Native Nations was printed under Richard Benson's direction (and that of Nicholas Calloway) using a near-continuous-tone process Richard developed especially for printing these images.

LanceSaintPaul: "I did buy the Benson book back then as a direct result of your featuring it. Thanks again."

Kenneth Tanaka: "That's an interesting auction of Curtis’s work. I don’t recall seeing one of his platinum prints. The Art Institute of Chicago here has a small collection of Curtis’s prints, all photogravures, acquired from a collector in 1975. Given that the provenance of the Artnet pieces was specified as coming from a private collection in Minnesota I suspect (but don’t know) they’re from one of the most prominent collectors of Curtis works in America, Christopher Cardozo. I wish him luck with this sale. Like so many things these days, Curtis’s work has become culturally radioactive among top collectors and especially among major institutions. I admire the relentless dedication and sheer sweat that this work represents. But it was always a bit sentimental and schmaltzy for my taste. But for an excellent read try Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis by Timothy Egan. It’s available on Amazon in book or Kindle form.

Mike replies: Christopher Cardozo also had a hand in the making of the Native Nations book. The publisher was Bulfinch, by the way.

David Myers: "You might be interested in the 'Curtis' prints made by Jon Cone and his team using photogravure. Reasonable prices, I believe, around $800."

VSL Lowers the Lights

I got on a call with Kirk Tuck this afternoon and before I knew it we had talked for two hours and 15 minutes...that was a surprise. Felt like 35 minutes.

Kirk is stepping away from his blog again. He's done it in the past, but unfortunately it looks like he means it this time. I understand. Although I won't be joining him.

You can read more from the horse's mouth (so to speak). It was nice of him to mention me in his "see you around."

Check out the bokeh in that second image! I love it.

And one more
Thanks for all the mentions of photo-writers from the past who we miss. Another one I miss, by the way, is Ctein. Just because he didn't have his own site doesn't mean he wasn't adding a lot to the discussion online. I think he wrote almost 350 columns for this site.

I'm happy to say I won't miss Kirk—but I can say that only because I'm pretty sure we'll keep in touch. I suspect he's just starting down a new road, and, given his amazing chops and incredible energy, I can't wait to see where it leads. Kirk Tuck is one seriously accomplished guy. He deserves all the success he has enjoyed.

Mike

P.S. If only he'd see his way clear to get that sports car he wants, so I could enjoy it vicariously!

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Rick_D: "Kirk can't not blog. This is demonstrable. And we can't have Kirk not blogging, so the weird forces comprising the internet will intervene and he'll be back, as it was written. I do not understand how anybody endures a Texas summer so understand why, come September, any Texan wants to hang it up and go do...anything else anywhere else. (I write this eyeballing a weather forecast threatening us with 111 tomorrow.) My best wishes to all involved."

Cheap vs. Expensive Lens: A Visual Quiz

Leica Rumors did an interesting little quiz showing comparisons between a cheap and an expensive lens. The article is called "Blind test: Leica Summilux-M 35mm f/1.4 ASPH lens vs. the new 7Artisans 35mm f/1.4 lens." Spoiler alert—if you want to take the test yourself at Leica Rumors, do so before clicking through.

Sock It To Me

Do you need a pair of socks?

I'm pretty sure you need a pair of socks.

Mike

P.S. These would look perfect with sandals.

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

If you can stand it, help support The Online Photographer through Patreon

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Daniel (partial comment): "Nope. Polyester doesn't cut it for some of us. Merino wool or good high count cotton."

Mike replies: Perfect comment for this post! To find a "deal breaker" in the specs...made me laugh.

Kenneth Tanaka: "Re 'Sock It To Me': Do you have any idea how long it's been since I've heard that old Rowen and Martin Laugh-In Show line?! Wow, it's like getting a whiff of a long-ago aroma (ex: bar room smoke). BTW, I actually saw someone wearing those camera socks, or socks just like them, last year in Lahaina, Maui! The guy was wearing shorts and slip-ons but there was no mistaking them. Geeky me, I was trying to see what type of camera they depicted."

Random Excellence: Jose Luis Gonzalez

Linhof Color monorail, 1960
Photo by Jose Luis Gonzalez

TOP reader Jose Luis Gonzalez contacted me this morning to offer some friendly advice, and in the process I learned of his camera collection and the portraits he makes of his collectibles using light-painting techniques. You can view many examples at this 2016 post on Japan Camera Hunter. Great tabletop photography of a lovely camera collection. Nice, all around!

Mike
(Thanks to Jose)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Fred Tuman: "That same exact type camera of camera was used every day in my studio from 1986 till 2004. It has bought me my home, paid for my wedding, and purchased five new cars over its lifetime. I paid $450 for it used at Ken Hansen's. When I sold it, with a couple of lenses, I took a trip with my wife to Vienna with the proceeds. Will any of my digital equipment reap the same emotional rewards?"

Peter Komar: "Back when I was shooting medium or large format product photography I absolutely recall the 'Light Wand.' It had many 'light end' attachments and a long tethered fiber optic cable to the base unit. It was quite the rage for a short time and the results were unique as far as product photography was concerned. The images of the classic cameras I would bet were shot using that technique, it was a lengthy process and, as I recall, always shot in very dim light studio settings. Nice to see that technique as I have not seen that in many years."

Paul McEvoy: "That Linhoff Color monorail is the most beautiful camera I've ever seen. I remember lusting over one in my LF days. I don't think there's a better looking camera out there."

After Fifty Years

Do you recall my friend Jim Sherwood, who bought a single original photograph for himself every year on his birthday, only to see his collection flourish over the decades and become worth far more than he had paid for it? (At this link, scroll down to "The not-a-collector collector.")

Jim's had a very successful and involved life in photography, which in recent years has extended to photobook collecting and selling. I thought I'd pass along a brief but moving comment Jim made on Facebook about what a customer said about one particular book. Here's the Facebook post in its entirety (very lightly edited):

"To my Facebook friends—some of you know I am a longtime, passionate photobook collector. Over the last 15 years I’ve been an online book dealer. In the process, you develop superficial client relationships with minimal communication. It’s the nature of web business. Rarely do I know anything about why someone wants to purchase a particular book.

"A few day ago I got an order for David Douglas Duncan’s War Without Heroes (1970), a powerful Vietnam War combat zone photo essay. Informing the buyer that I was on vacation and would ship the book upon my return, I received this message:

Understood. Enjoy your trip. I am in the book. I have waited fifty years to bring myself to see all of my friends that did not make it.

Signed, ______, Sergeant Major, U.S. Marine Corps, Never Retired.

"I was speechless, and deeply moved."

I wonder how that Marine Sergeant Major felt after viewing the book—I can imagine it bringing back both bad memories and good. I wonder if he was grateful to have had a part of his life documented that, in most soldiers' lives and experience, wasn't.

I have that book too, thanks to the recommendation of my friend and onetime book dealer Andy Moursund, who called it one of the three best books of war photography ever made. It's powerful work. DDD, as he was called, "embedded" with a combat unit long before that term was common, so it's a view from the inside of what it was like to experience the war in a U.S. Marine Corps unit.

DDD was a Marine himself who served in WWII. He donated the proceeds of This is War!, his book of Korean War photographs, to the widows and children of Marines who died in Korea. He himself passed away only two years ago at the age of 102.

Thanks to Jim for letting me republish this here.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Ashton Lee: "In 1967 my father was given a copy of DDD's book Yankee Nomad. I have had a deep love for photography since turning the first page. If anyone had not seen and read it, you must. It is as important and revealing as Weston's Daybooks. I have long thought it interesting that Duncan published his retrospective 52 years before he died."

Dave Levingston: "I have that book and, I think, all of David Douglas Duncan's books. He was my original inspiration to become a photojournalist when I checked his Yankee Nomad book out of my library and read the whole thing. When he published I Protest after visiting Khe Sanh during the Vietnam War, I knew I had chosen the right hero."

Iain: "One of photography's most powerful attributes is that it is able to raise the dead."

Reminder!

If you have some time this weekend, you might want to treat yourself to Bill Jay's famous essay "The Thing Itself." We mentioned it the other day.

The phrase was Edward Weston's. Edward, behind the formidable veil of his artistry and mastery, was essentially a still-life photographer. Few kinds of photographers care more about things themselves.

Bill was an iconoclast, always a little outside the art-world mainstream despite his numerous publications and academic positions. He thought for himself, followed his path, went his own way. He was also a photographer. His primary subject was other photographers. He made a great many fine portraits. I've seen very few less than good.

I think it's probably unlikely that you'll agree with everything he claims and says in this essay. But I also think it's likely that you'll find it thoughtful and thought-provoking—and a constructive, rewarding way to pass time on a lazy Summer weekend.

And if you don't want to read it now, put it on your virtual bedstand for some future day.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

Please help support The Online Photographer through Patreon

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Ricardo Hernandez: "Thank you so much for linking this Mike. I was not aware of it and it sure is making me think about my photographic journey, what I want to do, and though a big part of me already knew it - how petty are all these tribal sports like fights in forums about camera brands. I really like in particular the example he gave of the violinist on the TV interview, the very pragmatic "if you have filtered subjects of interest and you remain with equal subjects, pick the one people are interested the most at that point (but only at that point)" (I am paraphrasing) - the pick a subject that you are passionate about because it's how you will carry on examining it over and over again. Great, great read. Thank you so much!"

Animesh Ray: "Written with unusual clarity...what a difference from Sontag's On Photography. While trying to read the latter I couldn't go beyond what it is not to get to what it is. Here Bill Jay gets to the heart in a few short strokes of his pen. He writes like the best of the journalists, which he was for a long time. I agree with him on the primacy of the subject in photography. The surprise was his opinion on a personal style, that one cannot make it consciously, that it is an unconscious by-product of passion and work (and, may I add, of talent)."

Bill Jay on 'The Thing Itself'

"...In order to photograph with any degree of continuous passion, you must have a fascination for the subject, otherwise you cannot sustain an interest in the act of creation for a long enough period of time in which to make any insightful or original statement about it. In spite of its seemingly heretical slant (in this day and age) what you photograph is usually more important than how you photograph it.

"The photographer is, first and foremost, a selector of subjects. The photographer makes a conscious choice from the myriad of possible subjects in the world and states: I find this interesting, significant, beautiful or of value. The photographer walks through life pointing at people and objects; the aimed camera shouts 'look at that!' The photographer produces pictures in order that his or her interest in a subject can be communicated to others. Each time a viewer looks at a print, the photographer is saying 'I found this subject to be more interesting or significant than thousands of other objects I could have captured; I want you to appreciate it too.'

"This immediate emotional or intellectual response to the subject matter is at the core of photography. [...]

"I have stressed the importance of subject matter because it is the fundamental principle of photography—and, paradoxically, the least discussed area of the medium, especially to young photographers."

—Bill Jay, "The Thing Itself"

The late Bill Jay (1940–2009) said of his essay "The Thing Itself," "This article has been reproduced more often than any other piece I have written. I think it was first published in Newsletter, Daytona Beach Community College, in 1988—but it is still being used by and copied for college students at the time of posting, 2006."

Bill's writings have been a continuous source of inspiration and enjoyment for me over my lifetime in photography. His book with his mentor and friend David Hurn, the Welsh Magnum photographer, On Being a Photographer, is a must-have for all photographers' libraries. (It's sort of the Strunk and White of photography—and I say that knowing that Shakespeare violated virtually every precept in Strunk and White, and White violated many himself.) It's worth setting some time aside to peruse this essay—something I do periodically.

In fact I think I'll remind you on Saturday morning, to help encourage a few more people to make the acquaintance of "The Thing Itself."

Mike
(Thanks to Mark Sampson)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Dave Millier: I can see how this is vital to some photographers but not to me. By and large, I have little interest in the subject. For me, the subject is simply some convenient shape—it matters not what it is, because what I photograph is line, curve, pattern, tones and contrasts. I'm perfectly happy photographing a shadow, a crack in a wall, a bent nail, whatever meaningless object, as long as it forms some kind of graphical pattern, line, curve etc, often fleeting and transitory while the light strikes at the perfect angle. Come back 30 minutes later, and most of my photographs have vanished with the light and that angled rusty nail casting a perfect diagonal shadow across a textured yellow wall is now just an unimportant hook and there is no photo to be seen. I see photographic subjects, not as subjects in their own right, but as collections of graphical properties that interact with nearby objects to form a picture. Man consulting a map, or merely a bit of rusty old iron and the momentary perfect angle of light?"

Mike replies: Fair enough certainly, but could you be thinking in a little too limited a way about what "subject" is? You've eloquently stated your subject to be "line, curve, pattern, tones and contrasts" that "forms some kind of graphical pattern." Sounds (and looks) to me like you know exactly what your subject is.

Or maybe we're both thinking about the word "subject" more flexibly than Bill Jay intends in this quotation, I don't know.

Bob Keefer: "You inspired me to download this book on my Kindle and read it today. It's an excellent guide to how to go about actually being a good photographer, as opposed to talking and thinking about it. They rightly pick on academic photography and critical theory, offer sensible advice for how to approach a photography project and emphasize working on photography that moves you. Among my favorite sections was on the subject of gear. Hurn wrote that he originally used Leica rangefinders, but eventually switched to SLRs as his need for eyeglasses messed up the rangefinder view. 'I use the cheapest amateur model in the Canon line for one reason only: it is the quietest in operation. I certainly do not need all the bells and whistles even on this camera.' He does add, though, that his backup camera is a top of the line pro model—because it's resistant to the rain in Wales, where he lives and works. And Jay said, 'Beginning photographers are obsessed with equipment, but there comes a stage when they deny that cameras have any relevance. Yet the best photographers do seem to spend a lot of time talking about cameras again.'"

Mike replies: Supposedly David Hurn had six EOS Rebels around the time he wrote that book. I actually went out and bought one to mimic him...and lasted only a few months with it. Worked fine, but for me it wasn't satisfying to use because of the wee little tunnel viewfinder. I still remember a number of the pictures I took with it, though.

Curtis: "Dear Mike, Were you aware of the documentary film, Do Not Bend: The Photographic Life of Bill Jay? It can be viewed on YouTube and is a very interesting overview of his life. A one-of-a-kind individual I want to learn more about. Thank you for posting the quote!"

Mike replies: I was not aware! And I will watch that. Thanks.

Jim Henry: "Bill Jay's writings have resonated with me since I read them in Lenswork and then in his books. His language was simple, clear, direct, and free of words like 'vision' which I do not understand. I do miss his take on photography and his honest writings. They work for me. Thanks for reminding us all of him."

Camerasize

camerasize.com is asking for our help. Apparently expenses are getting to be too much for the site's owner and developer. I use that site a lot (in fact I found out about this because I was using it for the next post) and really appreciate it, so I made a donation.

Patreon and our Patreon supporters (thank you all) have really helped this site (TOP) survive, and I can tell you any little bit helps!

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

Please help support TOP through Patreon

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

No featured comments yet—please check back soon!