Photography & the Creative Process A Series by LensWork Publishing On Being a Photographer David Hurn/Magnum and Bill Jay Looking at Images A deeper look at selected photographs published in LensWork and LensWork Extended Letting Go of the Camera Brooks Jensen Single Exposures Brooks Jensen Single Exposures 2 with commentary by Brooks Jensen Single Exposures 3 Brooks Jensen Brooks Jensen The Creative Life in Photography Brooks Jensen The Best of EndNotes (LensWork #83) Bill Jay LensWork Publishing 2014 Introduction Looking at photographs is like looking at life; we can merely glance and take in what our eyes present us — or we can linger, study, listen, feel, and sense with our heart. We can learn — about ourselves as well as about those things in the photograph itself. Minor White used to say that you haven’t really seen a photograph until you’ve looked at it for 30-minutes. We might quibble over his number, but the spirit of his comment is true. Time teaches us in ways that a glance simply cannot. Here is an excerpt from my interview with Eugene Johnson from LensWork Extended #67, as he described the experience of photographing this old woman in the doorway: When I first met this old lady, I was in her house with her children, grandchildren, and great-grandchildren. We were all laughing and joking, drinking coffee and eating little snacks. After a couple of hours, the old woman grabbed my arm and said, “Are you afraid of me?” I answered, “Why would I be afraid of you?” She said, “Well, many people are. People are afraid of me because I’m blind.” This book is about what we learn about and from photography and the creative process by looking at photographs with more than a glance. It is about the process of art-making in photography. It is about the content of what we create, not the mechanics of how we create. As such, this book has been written with photographers in mind — especially those who use their cameras as a means of personal expression. Making photographic art can be a mysterious path. My hope is that you find useful insight in these pages will make that path less mysterious. I had been with this woman for a couple of hours and didn’t even realize that she did not have seeing eyes! Then she told me, “You know, my son, I am blind but I can see better than others.” “And how is that?” I asked. She said, “Because I can see with my heart.” She added, “You know, many people are confused by their eyes and the physical aspects of things. But I can feel the soul of people and things.” Several months later I returned to that same house and found the old woman in the back of the house just sitting. I walked in her direction and she extended her hand and she said, “Oh, my son, you’ve returned.” I responded, “But how did you know it was me?” She said, “Have you forgotten that I can see with my heart?” All of the images you will find here originally appeared in the pages of our publication LensWork or LensWork Extended. The commentaries are my response to spending time with each image, listening to both the image and the photographer (I’ve interviewed almost all of the photographers represented here), and trying to learn about the creative process through their experiences and the photographs they’ve produced. They have each graciously consented to the use of their images in this book, having no idea what my comments would be about their photographs. I cannot thank them enough for their trust. What a wonderful metaphor for the creative path in photography! When we see with our heart we see much more powerfully than when we use only our eyes. Sometimes, we can combine the two, and see both with our eyes and with our heart; that’s when we make truly powerful photographs. 6 These are not “critiques,” nor are they photographic formulae. There is no such thing as a formula in the creation of art that comes from our hearts. Instead, the comments that accompany each image are observations about life, the challenges of expressing ourselves through photography, and reflections about the creative process, gathered during a lifetime of trying to understand it through examples and experience. rather an extension of the ideas that have arisen as I’ve reflected on each image. You can use your tablet or smart phone to access these additional audio comments via the QR codes. Additional instructions on using QR codes and accessing the additional audio comments can be found on the last page in this book. Please keep in mind that the best art is often characterized by having a great capacity to connect differently with each viewer. My response to these images may differ from yours. That is a good thing — it means we are each listening with our hearts. In addition to my written comments that accompany each photograph, you will also find a QR code on the page with the text and image. This QR code links to an audio recording on our website. The audio is not simply a recorded version of the written text, but Brooks Jensen May 2014 7 Table of Contents Sequenced by photographer, including key topics Maureen Gallagher. . . . . . . . . . . . . . . . . . . . . . . . 74 nudes; sensuality versus sexuality Barry Guthertz. . . . . . . . . . . . . . . . . . . . . . . . . . .77 imagination and “what it is;” photography’s power of deception Mark Edward Harris. . . . . . . . . . . . . . . . . . . . . . . .79 Black-and-White Images photographing culture; archetypes Paul Hart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 John C. Alfano . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 atmosphere, air, sky Susan S. Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . .17 the moment as subject; questions without answers Andrew Beckham . . . . . . . . . . . . . . . . . . . . . . . . .19 seeing, noticing; working every day Michael Berman . . . . . . . . . . . . . . . . . . . . . . . . . .21 making it look easy; tonal relationships David Grant Best. . . . . . . . . . . . . . . . . . . . . . . . . .23 knowing when to work, when to watch, when to nap! Larry G. Blackwood . . . . . . . . . . . . . . . . . . . . . . . .25 same subject, different visions; peak moments of action Wynn Bullock . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 fame versus work; the trap of the “greatest hits” approach Cosmin Bumbutz . . . . . . . . . . . . . . . . . . . . . . . . . 29 non-visual sensations; atmosphere, air Scott C. Campbell . . . . . . . . . . . . . . . . . . . . . . . . .31 the balance between the universal versus the personal Brigitte Carnochan . . . . . . . . . . . . . . . . . . . . . . . . 33 memory; the time required to really see an image Ray Carofano. . . . . . . . . . . . . . . . . . . . . . . . . . . .34 titles; photography as a poor medium for philosopy Chris Carter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 landscapes; the joy of simple beauty Norman F. Carver, Jr. . . . . . . . . . . . . . . . . . . . . . . . 39 connections across culture; tones and planes; formalist cubism John F. Conn . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 images as stories; photography and life D. R. Cowles. . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 photographer as docent for their own work Tillman Crane. . . . . . . . . . . . . . . . . . . . . . . . . . . .51 compositional lines; the corners of images trees and ARAT photographs; our moods when viewing a print Pamela Ellis Hawkes. . . . . . . . . . . . . . . . . . . . . . . .83 two-dimensional photographs; visual puns; relationships Charles A. Hedgcock . . . . . . . . . . . . . . . . . . . . . . . 85 a chord of tones Wayne Levin. . . . . . . . . . . . . . . . . . . . . . . . . . . 115 showing what others cannot see for themselves Moisés Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 relationships between the things photographed; minimalism Stu Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 landscapes and detail; the artifice of photography Fritz Liedtke. . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Eirik Holmøyvik . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Joe Lipka. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 David Hurn/MAGNUM . . . . . . . . . . . . . . . . . . . . . .91 O. Rufus Lovett. . . . . . . . . . . . . . . . . . . . . . . . . . 125 Andrew Ilachinski . . . . . . . . . . . . . . . . . . . . . . . . .92 Bill Lyons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Wayne Firth. . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Bill Jay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Mark Maio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Christian Fitze . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Richard A. Johnson. . . . . . . . . . . . . . . . . . . . . . . . 96 Luis Mallo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Vladimir Kabelik . . . . . . . . . . . . . . . . . . . . . . . . . .99 Annu Palakunnathu Matthew. . . . . . . . . . . . . . . . . 133 Steven Katzman . . . . . . . . . . . . . . . . . . . . . . . . . 101 Jonathan Moller . . . . . . . . . . . . . . . . . . . . . . . . . 134 passage of time Perry Dilbeck. . . . . . . . . . . . . . . . . . . . . . . . . . . .54 the subtleties that make the image sing; expressive portraits Jenny Ellerbe. . . . . . . . . . . . . . . . . . . . . . . . . . . .57 the abandoned place and the human element; artifacts and details the abandoned place and the signs of people who were there tones in an original print versus images on screen; harmony of tones like chords in music Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 the Zen approach; being open to interpretation Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 negative space in the composition; edge-burning Roger Freeman. . . . . . . . . . . . . . . . . . . . . . . . . . .66 photographing anywhere; patience Roger Freeman. . . . . . . . . . . . . . . . . . . . . . . . . . .69 ordinary life; the universal in the particular symmetry; border treatments as part of the composition cheesy grins; the noisy photograph perspective handwriting as part of the artwork; project work compositional syncopation point of view; nostalgia comparison as a fundamental aspect of a photograph; concept-driven projects Chuck Kimmerle. . . . . . . . . . . . . . . . . . . . . . . . . 102 standing on the shoulders of giants; visual literacy Don Kirby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 skies; dramatic tones, listening to an image Gunter Chemnitz . . . . . . . . . . . . . . . . . . . . . . . . . 43 Hal Gage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Péter Korniss. . . . . . . . . . . . . . . . . . . . . . . . . . . 109 abstracts constructed to be photographed visual similes; habits; how we see, rather than what we see graphic design in photography; just the right camera placement Mario DiGirolamo . . . . . . . . . . . . . . . . . . . . . . . . .52 Diane Mastin Kirkland . . . . . . . . . . . . . . . . . . . . . 107 Carl Chiarenza . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Patricia Lay-Dorsey. . . . . . . . . . . . . . . . . . . . . . . 113 photographing the non-visual; the non-subject parts of a photograph William W. Fuller. . . . . . . . . . . . . . . . . . . . . . . . . .71 minimalism in compositions HDR photography; using techniques to enhance emotional response Josef Hoflehner . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Enzo Cei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 scale of the subject Jim Laurence . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 fellow travelers; the value of photographic literacy muck-o-graphs; simple access to a place and knowing where to stand framing the composition; visual balance seeing never stops the process of discovery in creativity what we see, and what we infer relationships and composition; black and white as a medium storytelling and photography; beyond the photograph sometimes hands can tell stories even more than faces details and the big picture image and text combinations Joan Myers. . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 photographers as “moment catchers”; photography and time Loren Nelson. . . . . . . . . . . . . . . . . . . . . . . . . . . 139 unlikely subjects; teaching the world to see in a new way Wayne Norton . . . . . . . . . . . . . . . . . . . . . . . . . . 141 the kind of photograph that we do, and appreciating work that is entirely different than ours Shaun O’Boyle. . . . . . . . . . . . . . . . . . . . . . . . . . 142 technique versus art-making study; graphic design; learning from the world of painting Rosanne Olson. . . . . . . . . . . . . . . . . . . . . . . . . . 144 Markham Starr. . . . . . . . . . . . . . . . . . . . . . . . . . 181 Color Images Tatiana Palnitska. . . . . . . . . . . . . . . . . . . . . . . . . 147 Peter Steinhauer. . . . . . . . . . . . . . . . . . . . . . . . . 183 David J. Bookbinder. . . . . . . . . . . . . . . . . . . . . . . 219 Aline Smithson. . . . . . . . . . . . . . . . . . . . . . . . . . 251 Jimmy Peters. . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Catherine Steinmann. . . . . . . . . . . . . . . . . . . . . . 185 Michael J. Carl . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Douglas Stockdale. . . . . . . . . . . . . . . . . . . . . . . . 253 jumping the gutter in book layouts abstracts and the emotional connection photography and the unexpected Burton Pritzker. . . . . . . . . . . . . . . . . . . . . . . . . . 151 breaking the rules Chris Raecker. . . . . . . . . . . . . . . . . . . . . . . . . . . 153 representing the three-dimensional world in a two-dimensional medium Abba Richman . . . . . . . . . . . . . . . . . . . . . . . . . . 154 intellectual projects Alan Ross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 how a place feels; what the photograph is about Dominic Rouse. . . . . . . . . . . . . . . . . . . . . . . . . . 159 surrealism and photography; humor in photography Victoria Ryan . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 botanical subjects; chaos and composition Ryuijie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 the photographer’s intent versus our interpretation Kristin Satzman . . . . . . . . . . . . . . . . . . . . . . . . . 165 layering as a technique in composition Steven Scardina . . . . . . . . . . . . . . . . . . . . . . . . . 167 seeing what is not in the photograph; details and questions the human element in the inanimate object the advantages of an elevated position tonal inversion; our connection with previous generations of photographers Jeromie Stephens . . . . . . . . . . . . . . . . . . . . . . . . 186 multiple-image storytelling versus the singular “greatest hits” image Robert Swiderski. . . . . . . . . . . . . . . . . . . . . . . . . 189 the true challenge of photography is not technical Cole Thompson . . . . . . . . . . . . . . . . . . . . . . . . . 191 photographing what we feel rather than what we see Photoshop trickery versus the perfect tool for the job color and emotional response; using our images for other than the artwork itself John Custodio. . . . . . . . . . . . . . . . . . . . . . . . . . 222 color photography versus black-and-white photography George DeWolfe. . . . . . . . . . . . . . . . . . . . . . . . . 225 modifying colors to create what the artwork needs Jon Fishback. . . . . . . . . . . . . . . . . . . . . . . . . . . 227 the process observation and training ourselves to be better observers Josef Tornick . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Kenneth Gregg. . . . . . . . . . . . . . . . . . . . . . . . . . 229 John Trefethen. . . . . . . . . . . . . . . . . . . . . . . . . . 194 Kim Kauffman . . . . . . . . . . . . . . . . . . . . . . . . . . 231 paying tribute to the masters of old; the story of our time balance as the critical compositional aspect; “shadow-rendering” versus “light-writing” Jay Tyrrell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 photo fiction; titles Terry Vine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 the “shot list” and project-oriented photography Paul Wainwright. . . . . . . . . . . . . . . . . . . . . . . . . 200 not the photographer’s point of view making art, not merely recording what our eyes see finding a unique way of seeing Sean Kernan . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 isolating the subject through a photographic vantage point Curtis Hans Miller. . . . . . . . . . . . . . . . . . . . . . . . 235 so-called “normal” light Julie Meridian. . . . . . . . . . . . . . . . . . . . . . . . . . 237 the theory of “three aspects” to make a photograph work Anil Rao. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Hiroshi Watanabe . . . . . . . . . . . . . . . . . . . . . . . . 203 the simple delight in tones and colors; photographing the mundane to make art George Webber . . . . . . . . . . . . . . . . . . . . . . . . . 205 Don Rommes. . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Larry Wiese. . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . . 242 Huntington Witherill. . . . . . . . . . . . . . . . . . . . . . 209 James Sedwick. . . . . . . . . . . . . . . . . . . . . . . . . . 244 making photographs versus experiencing life — and then photographing Janet Woodcock. . . . . . . . . . . . . . . . . . . . . . . . . 211 Radek Skrivanek . . . . . . . . . . . . . . . . . . . . . . . . . 247 Richard Snodgrass. . . . . . . . . . . . . . . . . . . . . . . . 177 Chris Zedano . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . . 169 capturing movement in a still photograph; photographer as director Gregory Scott. . . . . . . . . . . . . . . . . . . . . . . . . . . 171 playfulness and humor; visual puns Raphael Shevelev. . . . . . . . . . . . . . . . . . . . . . . . 173 photograph as historical document Mark Singles . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 telling the story with the details Steve Speer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 no one cares how you made the photograph — or how hard it was to make extreme shallow depth of field time is precious and we can’t go back the collective unconscious in photography; dark places our own personal gallery of experiences viewing photographs anthropomorphism and photography; humor humor in photography Bill Zorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 seeing more as we spend more time looking at a photograph; questions photographic guilt in the age of Photoshop collaboration in the creative process packaging our work for visual consumption romanticism and drama; choosing the right camera format for the project Brian D. Smith . . . . . . . . . . . . . . . . . . . . . . . . . . 249 the abandoned architecture conceptual art and humor using compositional lines to enhance the feeling of a photograph Stephen Strom. . . . . . . . . . . . . . . . . . . . . . . . . . 255 distillation as a compositional strategy Peter Tonningsen. . . . . . . . . . . . . . . . . . . . . . . . 256 the visually graphic representation; building a body of work Jimmy Williams. . . . . . . . . . . . . . . . . . . . . . . . . 259 the challenge of finding an audience for our work A Morning at American Camp by David Grant Best Published in LensWork #14 Commentary I have two related stories to tell about this photograph. der, just looking, observing, but not photographing. Then, all of a sudden, in a flurry, you’ll see them leap into action. For a few minutes — maybe even half an hour — they’ll photograph intently, quickly, changing angles, changing lines, changing perspective, working fast. Then they’ll just stop. The camera will go back over the shoulder, and they’ll continue looking, observing, perhaps for a long period of time. It’s that ability to know when the photographic moment appears that is the real talent. I interviewed David Grant Best about this photograph and he told me this story about his experience of photographing at American Camp. He was there with a group of other photographers, all of whom hit the ground running — buzzing about, making pictures, flurry, flurry, flurry. By contrast, David found a nice comfortable spot in the grass, stretched out, and took a nap. He simply observed that the light was not yet right and knew that it would be in an hour or so. Sometime later, he woke up to find these delicate clouds and the beautiful angle of sunlight perfectly illuminating the white buildings and picket fences. He photographed intently for an hour or so, and when he was done he was done. He went back to napping. Nonetheless, in the short time he photographed he collected enough images for a wonderful little portfolio which we published in LensWork #14. It’s not activity that counts, but rather the right activity at the right time — even if that includes napping and rest! I was, of course, instantly reminded of Cartier-Bresson’s famous Decisive Moment train of thought. I’m fascinated by the parallel between these two anecdotes. The obvious conclusion is that a talented photographer knows when to work and when to watch; when productivity is called for and when it’s best to wait. When we think of the term “photographer” we tend to think of someone who makes pictures, i.e., someone who presses the shutter and makes exposures. The lesson from these two photographers, however, is that the term photographer means much more than that. It means one who looks and sees, and one who knows the difference between clicking the shutter and making a photograph. In other words, it’s important not to confuse activity with photography. Some years later, I was interviewing Magnum photographer David Hurn. I asked him how Magnum photographers work when they’re in the field. I’ll paraphrase what he described as follows: You won’t see much activity from a Magnum photographer for long periods of time. They walk around with their camera slung over their shoul22 More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 23 Imagining Then: A Family Story 1941-1947 by Brigitte Carnochan Published in LensWork and LensWork Extended #80 Commentary This project is all about memory. But, then again, all of photography is about memory to one degree or another. What makes this project of particular interest is how Carnochan uses imagery to explore the concept of memory itself. of memory. A very unusual viewing experience, but one I find fascinating and seductive. Minor White often spoke about spending 30 minutes or so looking at a single photograph. In truth, few photographs compel me to linger over them that long. Carnochan’s do. I find that her photographs not only invite me to spend such time, but encourage me to extend what she has done by adding layers of my personal memory and my personal family history on top of the layers she presents visually in her images. It is her story, but it is our willingness to abandon ourselves to it that makes this such an engaging project and an intense viewing experience. I discussed this at great length in my interview with her, and it was her philosophical reasoning behind this project that made it particularly interesting. If I can sum up a bit for her: it was her revelation that memory is a thing of many layers happening at once — that could be reproduced visually — which became the foundation for this project. Each image, layer upon layer, invites us to spend time, explore the parts of each image, and reassemble them in our minds as if they were our memories. The subject matter is personal: her parents’ experience during World War II. Using photographs, letters, oral history documents, maps, and a considerable amount of artistic license, Carnochan presents image after image that feel like memories. These are not photographs that are intended to imply a memory; they are montage constructions that are intended to be a memory. When I look at her images I have a very interesting and unique experience — one totally different than when looking at a normal photograph. When looking at her montages, I want to linger and be absorbed and allow the layers of her photograph to merge in my imagination until I have the experience 32 More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 33 The Last Harvest: Truck Farmers in the Deep South by Perry Dilbeck Published in LensWork and LensWork Extended #66 Commentary I find this portrait deceptively simple — deceptive because there’s so much going on in this photograph that doesn’t appear on the surface, until you look more carefully. It’s a great example of how enriching it can be to give time to a photograph — rather than just gulping it in a quick glance. apprehensive, maybe not quite as trustful towards the photographer or towards us. This is not unexpected. In my years of photographing elderly people like this, I’ve noticed with consistency that older men seem to have no difficulty with the camera. Older women sometimes are more self-conscious. Perhaps they are concerned how they will appear in the photograph, or are embarrassed about being photographed — I’m not sure which. There are gender issues at play that I don’t understand. In this picture titled Jack and Agnes, we see two people simply standing and looking directly at the camera. There’s nothing particularly innovative or creative about the posing of these people. As a matter-of-fact, my suspicion is the photographer did not pose them. He simply pointed the camera straight at them and made the photograph. They chose to stand next to each other and probably — if the photographer did anything — he might have placed them in front of this building or house just to make a simple backdrop. I don’t get the feeling — but I may be wrong — that he even advised them to hold hands. There’s something in their expression that tells me that’s of their own doing. Notice the differences between their clothes. Jack’s overalls are a bit dirty; Agnes, on the other hand, looks like she spiffed up a bit for the photograph. She’s obviously fixed her hair; his hair is just tussled down onto his forehead. There’s a difference between their feelings about being photographed. Jack appears to have the attitude of “take me as I am. Just take the picture; I don’t care that I’m in my work clothes; I don’t care that my hair is not combed. I am who I am so just photograph me.” On the other hand, Agnes wants to put her best foot forward. She is wearing a pretty dress, and she is nicely groomed. She wants to be perceived in a certain way and she has prepared herself to be photographed. Let’s begin by looking at Jack. He’s happy. He seems to have a sense of pride — in her. Can you see that? It’s as though he’s holding onto his new bride here, caressing her hand, his left arm holding behind her. I can imagine him showing her off for the camera. This is my wife; my partner. This is the woman I’ve spent my years with. That comes through, doesn’t it, in his face? It’s a marvelous expression. Now look at the size differential in their hands. Look at the size of his fingers compared to the size More Thoughts via Audio Commentary Her face has a different expression. She seems a bit Scan with a QR code reader using your smartphone or tablet. 54 of her fingers. Jack has the hands of a farmer, of a guy who has worked his entire life — and worked hard. And she, obviously, has worked hard too, we assume, but differently than Jack has. Agnes appears to have more of a homemaker’s hands — possibly even a schoolteacher or a similar profession. We don’t know by looking at the photograph, but it is interesting to look at the difference in the size of their hands and contemplate the different work they’ve done. Each of them has a different relationship to the photographer, too. Jack is leaning slightly forward towards the photographer; she is slightly reserved, almost leaning back. The love between them is undeniable. The way he holds her hand, the way she grips his fingers is really such a sweet testament. It’s a small, subtle gesture — but so important to the photograph. The intimacy in their relationship is what makes this such an interesting portrait. 55 The Unapologetic Landscape by Chuck Kimmerle Published in LensWork and LensWork Extended #87 Commentary It is said that “No man is an island” — and by extension I suppose we could propose that no artist creates in a vacuum. Visual literacy is such an incredibly important part of our creative life. Without it, we are undoubtedly destined to simply repeat so many of the images that have been made before us. There is, however, a very positive flip side to this issue — having visual literacy and using it to extend the dialogue started by the previous generations. This photograph from Chuck Kimmerle is a perfect example. dialogue to a new level. This marvelous shadow in the snow is such a wonderful — and even surprising — element in his composition. If the bottom half of the photograph had simply been branches reflecting in a pool or lake, we may not see enough difference between his and Godwin’s image to assert that it extended the conversation; too much similarity might lead us to infer that Kimmerle was simply copying Godwin’s vision. By introducing this new element, however, his image brings us to that marvelous point where memory and new vision intersect. We see influence and perhaps even a tribute to her work. We don’t know if Kimmerle felt any of this, but we can even if he didn’t. On the other hand, if we didn’t know about Godwin’s image, we might interpret Kimmerle’s differently. Knowing about both increases our appreciation of both. Perhaps you may recall a very similar image to Kimmerle’s that graced the cover of LensWork #48. Doesn’t Kimmerle’s image and his imagination owe at least a little bit to the image by British photographer Fay Godwin? And in turn, hers is probably not the first photograph in the history of the medium to portray barren branches hanging just above terra firma. There is a visual repartee spanning years and generations — and I find this a particularly rewarding element of photography. This leads directly to one of the great problems of photography — indeed of art in general: the more one knows about photography — that is to say, the broader one’s visual literacy in photography — the more one appreciates photography and the subtleties of the currents that drift through the medium. This can create a barrier for the novice, or at least diminish their appreciation of any given photograph. But I’m not sure this is any different than any other pursuits in life. The more one knows the history Kimmerle’s image may remind us of the earlier one by Godwin, but in my way of thinking he has pushed the More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 102 of baseball, the more interesting the current World Series becomes; the more one knows the geopolitical history of Europe, the more understandable we find the state of today’s Europe. I often play a little mental game when looking at a photograph: who are its fellow travelers? I conjure in my mind’s eye an imaginative gallery exhibition of images that relate, or at least feed and bounce off of each other. In my mind, I can pull images from memory. Physically, I can comb my library for similar images from books. The Internet is an endless resource for new images. Once assembled, the dance of these visually-related images makes for a marvelous viewing experience. Try it! It probably shouldn’t be a surprise that photography is no different than anything else in life. As counterintuitive as it may sound, the more we want to appreciate contemporary photography the more important it is to know about the history of photography and the work of the previous generations. 103 Midnight Carnival by Chris Raecker Published in LensWork and LensWork Extended #69 Commentary Chris Raecker gave himself a very difficult challenge: he wanted to photograph carnival rides so that the viewer of the photograph could have, to some degree, the same emotional experience that the rider had while riding the carnival rides. Now that is a difficult challenge. I thought this project was especially interesting for the way Raecker avoided the cliché. We’ve all seen lots of photographs made at carnivals — all of which visually emphasize the colorful machinery, lights, and vibrant colors. We typically see crowds, vendor stalls, sweet food, and lots of children. It’s all so predictable — and boring. It would have been so easy for Raecker’s project to regress to this ordinary way of seeing. A carnival ride is moving — up and down, left and right, spinning back and forth — it makes us dizzy. It makes us have an adrenaline rush; in fact, that’s the purpose and objective of carnival rides. But it didn’t. The key was that he shifted his attention ever so slightly. This is the only portfolio we’ve seen that shows us the experience of the carnival rather than the appearance of it. It is so easy for us photographers to become seduced by the way something looks; after all, photographs are a terrific medium for doing just that. But showing us what something looks like is merely a poor substitution for us being there and seeing it for ourselves. Photograph as art — as compared to photography as a technology — is rarely successful when all it does is copy the appearance of the world. The best photographs speak to the heart even more than they do to the eyes. This example from Raecker is an exemplary lesson that illustrates the point. And what does a photograph do? Well, by contrast, it sits there on the paper. It’s two-dimensional; it’s flat; it doesn’t move; it doesn’t do anything but allow us to look at it. Experiencing a carnival ride and experiencing a photograph are at opposite ends of the spectrum of personal experience. Nonetheless, that’s the challenge that Chris Raecker gave himself: make photographs that would give us the feeling of being in a carnival ride. Fascinatingly enough, I think he succeeded. By choosing a camera angle that looks up to a dramatic sky, by careful timing where both feet and hands are launched off the ground, and by making the structure of the ride itself disappear into the blackness of the corner of the print, we do get a sense of that moment of airborne freedom and fear that is the purpose of the ride. When I look at his photographs I know what it’s like to be on that ride. The images are dramatic, and so is a carnival ride. 152 More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 153 Endangered Species: The Point Judith Fishermen by Markham Starr Published in LensWork and LensWork Extended #73 Commentary Human beings are many things, but I’d bet that many of us spend most of our lives working. Whether we work in a paid job, around the house, volunteering, or in our own business — working is universal. obscures what otherwise might be a torso — all these factors combine to create the first-glance illusion that we are not looking at a thing, but rather at a person. It’s not unexpected, then, that so many photographic projects are about this pervasive, important, ubiquitous human activity. Perhaps what is more amazing is that there aren’t more photographic projects about humans at work. Making the inanimate animate — or should I say, looking for those photographic opportunities that show us the life in the object — is one of the engaging photographic opportunities that one should never pass up when it presents itself to our cameras. Whenever I find myself photographing in similar settings like this — places where the people are absent but their presence is everywhere, my antennae perk up looking for gloves, worn tools, clothes, hats, objects that are handled until they are polished with the patina of use, or anything else that can show me the evidence of the user’s existence. I hunt for them and always manage to find a few photographic opportunities in their presence — as did Markham Starr. Markham Starr has been drawn to those who work on boats. All well and good and his photographs are interesting in the story they tell. Starr is the type of photographer I would feel more comfortable labeling as a “storyteller” rather than as a “photographer”: he simply uses his camera to adroitly and visually tell his stories — or I should say, tell their stories. In doing so, Markham frequently uses one of the great photographic tricks of the trade — he looks for those objects, angles, and compositions that make the inanimate object of work come alive. By doing so, he is showing us the person even though they are not in the photograph. Don’t you just feel like these boots could scoot out from under the bench, stand up, and walk away? That the boots are still tucked inside the pant legs, that the boots are resting at an angle that would be seen if the feet were still in them, that the bench 180 More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 181 China’s Yangtze: Ancient Heritage, River Rising by Bill Zorn Published in LensWork #39 Commentary Photography is often described as a descriptive media: it shows, reveals, defines, elucidates. That all might be true, but a photograph with only answers is like a pile of dry bones; it has no life and little to offer. Great photographs are more about the questions they pose than the answers they provide. This image from the cover of LensWork #39 has always been one of my favorites and illustrates the point. It is deceptively simple, yet so rewarding to contemplate more deeply than one would guess at first sight. These and more questions arise when one looks at this photograph — but only if we take the time to really consider it. This is one of the things about photography that continually amazes and frustrates me. We live in a time in which photographic images are often consumed at a glance — a quick glance at that. I’m not talking about advertising images, but also so-called “fine art photographs.” Watch someone in the photography section of the bookstore flip through the pages, judging a hundred or so images as being purchase-worthy or not in just a few seconds. Next time you’re in a gallery setting, discretely use your watch and time how long people look at each image. How long do you think people spend with a photograph on the typical photography website? Flit, flit, flit. We are like butterflies on speed. And yet, there is so much to be considered when we spend a little time with an image and really look at it — look and ask questions; look and imagine what it’s like to be there; look and think. It’s a rare gift we offer to a photographer and their work, but one often worth the time and effort. There is so much about this photograph that looks instantly understandable — a man sitting and sleeping in the street — that is, until you really look at it. When you stop to really look, questions start to surface: Why is the chair so small? Why is he sitting on it? Why does the landing he is sitting on slant toward the stone passageway? Where does the doorway lead to in the distance? Why an arched doorway? Turning our attention to the man: what is that hat made of? He appears to be wearing a western style coat in defiance of the context of the image. And his shoes look out of proportion to the rest of his frail body. Why is he alone in this passageway? Is he asleep, or just lost in thought? If he is asleep, can you imagine being comfortable in that position? Or is he simply posing for the photo? More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 214 215 Feathers by Jon Fishback Published in LensWork Extended #91 Commentary 226 When I was in high school, our physics instructor taught us one of the most fundamental aspects of the scientific method: observation. Our assignment was to write down as many independent and unique observations as we could about a pencil. The 50 minutes of the class drug on interminably as we struggled to write down a dozen things we could readily observe. At the end of the class he then said, “All the things you’ve written down so far are disallowed. To receive a C on this assignment, you need to write down 100 things not included in your initial list. Another hundred items and you will earn a B; another hundred beyond that and you will receive an A.” Yowza. In retrospect, I’ve always thought this would be a marvelous assignment for a beginning photography class. himself background variations to introduce another variable into the scheme. Jon Fishback has picked up the spirit of this challenge with his portfolio, Feathers. How many different ways can an object be rendered in a photograph? This is a fascinating challenge for our creativity, and also a technological challenge introducing related skills like lighting, color balance, composition, etc. When a project like this is successful, it looks deceptively easy. On the surface, there are simply 31 photographs of feathers in his project. What makes it noteworthy, however, is that there are essentially no duplicates. Each composition uses a unique combination of shape, color, light, and even emotional content. All of them are presented against a black background which makes the project even more complex and difficult. He doesn’t even allow Well, how is a studio photograph of a feather any different than an in situ photograph of a mountain landscape? In more than a few critical circles, it’s been proposed that everything that can be photographed already has been. Even if it’s not strictly true, the challenge remains: how do we see with unique eyes? An even greater challenge is presented when we ask the question, How do we uniquely see with our eyes things we have already seen before? Indeed, this question may be the very core of the artistic life. Of course, what we don’t know (but Jon does) is how many additional images were part of this project that were edited out of the final presentation. Perhaps he found some of them were repetitive; perhaps some of them simply didn’t measure up, photographically, to their brothers and sisters. What is important is that he pushed himself beyond the obvious few images that we could perhaps all make in our sleep. I have no doubt that every one of you reading this could make an interesting photograph of a feather — after all, feathers are interesting objects in and of themselves. But could you make 31 interesting photographs? Or 100? More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 227 Florilegium by Kim Kauffman Published in LensWork Extended #84 Commentary We’ve all heard it before: “Don’t bother going to Yosemite; it’s all been photographed. Waterfalls? Nope, been done. Flowers? For God’s sake, no! There’s nothing you can do to photograph a flower in a unique way! Search for the unique subject that has never been photographed before so that you can own the subject all to yourself. Build your career on that which has never been photographed before.” Sometimes, seeing in a new way is completely mental — an act of changing habits. Sometimes, seeing in a new way is driven by the mechanics of imagemaking — in which case the challenge is to recognize the new way of seeing as something worth exploring. This latter is the case with Kauffman’s project. Photographing flowers isn’t new; photographing them without a camera isn’t unheard of either (think solarized contact sheets); photographing them with a flatbed scanner, however, was the inspiration that led Kauffman to this wonderful work. The moving bar of light in the scanner wraps around these three-dimensional blossoms as they lay on her scanner. The resulting quality of light could just be a neat trick. So goes the conventional wisdom. Thankfully, Kim Kauffman either never heard this advice or refused to take it. If her photographs of flowers and the botanical world aren’t unique, then I am uninformed. I’ve never seen anything like this work before, and I find her vision refreshing, inspiring, and quite simply — stunningly beautiful. That she was able to approach such an oft-photographed subject with such originality is a testament to her creative spirit. All well and good, but a technological trick is only a technological trick unless an artistic and aesthetic eye can use it to make something worthy of being called art. Kauffman understands this, which is precisely why she worked on this project for years, learning what worked and what didn’t, how to make images that were more than a mere photographic slight of hand. This is precisely why I would say this project tells us a great deal about herself. She is not just a photographer with a trick, but a photographer with a sensitive eye and an aesthetic soul. Kauffman not only shows us flowers and plants, but she shows us a great deal about herself in the process. Part of what I find so inspiring about her project is this sense of being true to herself and not letting all of those predecessors inhibit her. Photography has been around some 173 years now and there have been countless photographs made by countless numbers of photographers. Is it possible to do something that has not been done, to break new ground, to see in a new and unique way? The answer is yes — quite simply because each of us are unique individuals and in that very fact lies the potential for creative vision. 230 More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 231 Pool Light by Howard Schatz Published in LensWork Extended #64 Commentary sity if one truly wants to explore the excellence that is our potential. There are so many wonderful photographers working these days that it’s hardly fair to single out a few for extraordinary praise, but I must confess that there are a few whose careers I closely follow. Howard Schatz is one of those few; I find his work particularly inspiring. I have no interest in doing photography like Schatz’ whatsoever — besides, the world doesn’t need me to do this kind of imagery because he does it so well. What I find inspiring about his work is his approach to the creative process — a source of inspiration no matter what one photographs. Second, if you’d like to see the breadth of a truly creative photographer, one could not pick a better example than Schatz. He has significant bodies of work in color and black-and-white, studio work and location work, commercial work and poignantly personal work, modest publications and substantial ones. Schatz does what the most creative people always do: he follows his inclinations, and never allows his career or clients (or audience expectations) to intimidate his project selections. As a result, his work is as varied as can be imagined. Far too many times I see photographers develop a particular look or style and then ride that pony into the sunset as though that is the one and only creative possibility available to them. I am much more inspired by Schatz’ approach, which promotes exploring a visual idea in depth, but not in perpetuity. First, every project Schatz engages is, in one way or another, a collaboration. In this body of work, Pool Light, the cooperation extended to models, assistants, hair and makeup artists, fashion designers, image finishers, and dare I say swimming pool chemists. One doesn’t just jump in a pool and make this kind of fabulous image without incredible preparation and help. We’ve also published Schatz’ collaborations with actors, and Cirque du Soleil performers — and in every project one can see the results of collaboration in his images that would simply not be possible if he worked alone, in a vacuum. I’m not sure why it is on fine art circles that the myth of the independent and solitary photographer, slaving away in the field and later in the darkroom, has taken such hold, but it’s a myth that needs a strong and curative dose of reality — as the commercial photographers prove every day. I’d go so far as to say that collaboration is almost a neces- Third, hand-in-hand with his creative flexibility, is a kind of daring that is incredibly powerful. Schatz is not in the least afraid or intimidated to try something radically new or different. It doesn’t always work. To be honest, there are several books of his work that don’t engage me so much. But it’s so true that “beauty is in the eye of the beholder,” that I have More Thoughts via Audio Commentary Scan with a QR code reader using your smartphone or tablet. 242 no doubt the work of his that I find less interesting is very likely someone else’s favorite. Schatz is fearless and plunges ahead following the one true compass that needs to guide the creative process: his own Creative Muse. On occasion I’ve mentioned to him that I simply can’t connect to a body of work that he is especially excited about; without pause, he simply moves on and says, “Well, let’s look at this!” And then he pulls out a different body of work. Schatz doesn’t have even a whit of that sensitive ego that protects so many artists from rejection. He’s far too busy creating and exploring ideas with his camera to be sidetracked by others’ individual preferences. What an incredibly healthy outlook! It’s especially so for anyone involved in a creative process where exploration and rejection, creative experimentation and rule-less innovation are among the chief characteristics. 243 Index of Names, Titles, & Key Words A abandoned place 48, 57, 58, 249 abstracts 27, 39, 45, 63, 66, 85, 147 Adams, Ansel 65, 95, 101, 185, 225, 244 Alfano, John C. 15 Anasazi 58 Anderson, Chris 251 anthropomorphism 211 Aral Sea 247 ARAT 81, 107 architecture 39, 58, 167, 177, 189 Arrangement in Grey and Black No.1 251 art history 143, 159 Atgét, Eugene 173 Audubon 256 Australia 73 B background 31, 43, 77, 87, 89, 125, 163, 165, 194, 227, 233, 256, 257, 259 Bank, Susan S. 17 Barnett, Susan 251 beauty 37, 71, 203, 219, 242 Beckham, Andrew 19 Berman, Michael 21 Best, David Grant 23 birds 25, 117, 256 Blackwood, Larry G. 25 Bookbinder, David J. 219 Bourke-White, Margaret 185 Bullock Photography Trust 27 Bullock, Wynn 27, 185, 209 Bumbutz, Cosmin 29 C Campbell, Scott C. 31 Canyon Reflections 240 Carl, Michael J. 221 Carmel, California 209 Carnochan, Brigitte 33 Carofano, Ray 34 Carter, Chris 37 Cartier-Bresson, Henri 23, 25 Carver, Norman F. 39 Cei, Enzo 41 Chemnitz, Gunter 43 Chiarenza, Carl 45, 85, 251 Child in Forest, 1951 27 China 149, 215 Clearing Winter Storm 149 clouds 15, 23, 51, 64, 87, 104, 127, 137, 147, 253 Color Light Abstractions 27 Columbia Gorge 222 commercial photographers 199, 242 conceptual art 101, 251 Conn, John F. 46 Cooper, Thomas Joshua 161 Cowles, D. R. 48 Crane, Tillman 51 creative muse 243 creative vision 104, 231, 233, 238, 256 cropping 43, 45, 51, 57, 89 culture 39, 79, 134, 177 Custodio, John 222 Ellerbe, Jenny 57 Erwitt, Elliot 213 Evans, Walker 131, 185 everyday life 95, 155, 173 F Farmer’s Almanac 31 filters 39, 46, 104 Firth, Wayne 58 Fishback, Jon 227 Fitze, Christian 60 Fleeing a Dust Storm 65 Fletcher, Colin 205 flowers 77, 83, 161, 163, 219, 221, 231 foreground 73, 165, 206, 247 Forelli, Chip 63, 64 Frank, Robert 185 Freeman, Roger 66, 69 Freud, Sigmund 35 FSA 65, 185 Fuller, William W. 71 fuyu 191 G D Gage, Hal 73 Gallagher, Maureen 74 gesture 17, 43, 55, 74, 91, 96, 97, 131, 133, 149, 169, 194 Godwin, Fay 102 golden hour 66, 247 greatest hits 27 Gregg, Kenneth 229 Guatemala 134 Gurbo, Robert 71 Guthertz, Barry 77 E habits 113, 149 Hagen, Rainer 143 Hagen, Rose-Marie 143 Decisive Moment 23 DeWolfe, George 225 The Diamond Sutra 34 DiGirolamo, Mario 52 Dilbeck, Perry 54 diptych 113 direction of illumination 93 editing 91, 115, 133, 149, 201 H Hamlet 77 Harris, Mark Edward 79 Hart, Paul 81 Hasegawa, Saburo 191 Hawkes, Pamela Ellis 83 HDR 111 Hedgcock, Charles A. 85 Hindenburg 25, 101 Hiser, Cheri 27 Hoflehner, Josef 87 Holga 35 Holmøyvik, Eirik 89 horizon 15, 21, 73, 87, 89, 92, 117, 157, 211 humor 159, 171, 211, 213, 251 Hurn, David 23, 91 I Ilachinski, Andrew 92 India 133 infrared 222 J Janson, HW 143 Japanese haiku 191 Jay, Bill 95 Johnson, Richard A. 96 jumping the gutter 144 K Kabelik, Vladimir 99, 206 Katzman, Steven 101 Kauffman, Kim 231 Kernan, Sean 233 Kertész, André 43, 71, 185 Kimmerle, Chuck 102 Kirby, Don 104 Kirkland, Diane Mastin 107 knowing where to stand 73, 87 Kodak smile 91 Korniss, Péter 109 L Labyrinth on My Table, 1967 109 landscape 15, 29, 37, 45, 63, 64, 73, 85, 93, 101, 104, 105, 118, 137, 149, 157, 183, 185, 186, 193, 197, 221, 222, 225, 227, 229, 235, 238, 240, 247, 255 Laurence, Jim 111 Lay-Dorsey, Patricia 113 LensWork #13 74 LensWork #14 23 LensWork #15 205 LensWork #16 63 LensWork #19 34 LensWork #20 41, 169 LensWork #22 101, 137 LensWork #28 85, 133, 185 LensWork #29 45, 73, 131 LensWork #30 91 LensWork #31 66, 199, 209 LensWork #33 104 LensWork #34 83, 163 LensWork #35 51 LensWork #36 159, 183 LensWork #37 69, 206 LensWork #38 173 LensWork #39 215 LensWork #40 79 LensWork #43 151, 167 LensWork #47 147 LensWork #49 48 LensWork #50 29 LensWork #51 31 LensWork #52 39, 161 LensWork #54 154 LensWork #55 27, 52 LensWork #57 165 LensWork #58 60 LensWork #59 99, 118 LensWork #60 247 LensWork #61 189 LensWork #62 121 LensWork #64 64 LensWork #65 134, 157 LensWork #66 54, 71, 117, 141 LensWork #67 89, 107 LensWork #68 125 LensWork #69 57, 153 LensWork #70 96, 193, 203 LensWork #73 181 LensWork #74 87, 253 LensWork #75 95, 144 LensWork #76 111 LensWork #77 115, 142 LensWork #78 211 LensWork #80 33 LensWork #81 191 LensWork #82 17, 58, 237 LensWork #84 15 LensWork #86 46 LensWork #87 102 LensWork #88 21 LensWork #89 77, 186 LensWork #90 129, 213 LensWork #92 109 LensWork #93 25 LensWork #94 175 LensWork #95 92 LensWork Extended #62 177 LensWork Extended #64 242 LensWork Extended #69 219 LensWork Extended #70 19 LensWork Extended #71 123 LensWork Extended #72 197 LensWork Extended #73 139 LensWork Extended #74 249 LensWork Extended #77 113 LensWork Extended #78 43 LensWork Extended #79 149 LensWork Extended #80 127 LensWork Extended #82 37, 221 LensWork Extended #84 229, 231, 251 LensWork Extended #85 81, 222, 256 LensWork Extended #86 240 LensWork Extended #88 233 LensWork Extended #89 255 LensWork Extended #90 194, 200 LensWork Extended #91 227 LensWork Extended #92 179, 225 LensWork Extended #94 235 LensWork Extended #95 259 LensWork Extended #97 238 LensWork Extended #99 244 LensWork Special Editions 27, 74, 209 Levin, Wayne 115 Lev, Moisés 117 Levy, Stu 118 Liedtke, Fritz 121 Lipka, Joe 123 Liston, Sonny 25 Lovett, O. Rufus 125 Lyons, Bill 127 M Made of Steel 85, 139 Magnum 91 Magritte, Rene 159, 171 Maio, Mark 129 Maisel, Jay 15, 64 Mallo, Luis 131, 251 mandala 219 Matthew, Annu Palakunnathu 133 Merced River 238 Meridian, Julie 237 metaphor 6, 34, 71, 77, 81, 121, 123, 189, 219, 253 Miller, Curtis Hans 235 minimalism 43, 117 Moller, Jonathan 134 Moon, Beth 25 Morocco 48 Munch, Edvard 63 music 61, 85, 117, 206 Myer, Joan 137 N negative 65, 185 Nelson, Loren 139 New York 37, 149, 185 Niro, Robert De 91 North Africa 48 Norton, Wayne 141 nudes 74 O Oakland, California 173 O’Boyle, Shaun 142 Olson, Rosanne 144 Orland, Ted 34, 171, 213 Outer Hebrides 193 P Palnitska, Tatiana 147 panorama 183 Paris 173 passage of time 52, 53, 173, 193, 247 PBWA 199 Pepper #30 149, 186 perspective 23, 63, 92, 93, 99, 118, 142, 157, 165, 173, 183, 195, 200 Peters, Jimmy 149 philosophy and photography 34 Photography West Gallery 209 Photoshop 96, 115, 159, 171, 219, 235, 240, 256 Picasso 111 Picker, Fred 73 Point Lobos 149, 209 Point Lobos Tide Pools, 1972 209 Poland 167 Polaroid 89 portraits 31, 46, 52, 54, 69, 101, 121, 131, 203, 242 The Print 65 Pritzker, Burton 151 R Raecker, Chris 153 Rao, Anil 238 RAW files 143 relationships 21, 31, 37, 46, 55, 60, 61, 83, 85, 91, 104, 117, 127, 131, 141, 163, 167, 185, 186, 203, 211, 233, 245, 251 Rembrandt 141 rhythm 96, 97, 142, 244 Richman, Abba 113, 154 Romania 29 Rommes, Don 240 Rorschach 63 Ross, Alan 157 Rothstein, Arthur 65 Rouse, Dominic 159 Rubik’s Cube 77 Rule of Thirds 165 Ruskin, John 211 Ryan, Victoria 161 Ryuijie 163 S Salinas, California 209 Sander, August 52 San Miguel de Allende 199 Satzman, Kristin 165 scale 41, 157, 255 Scardina, Steven 167 Schatz, Howard 169, 242, 251 Scott, Gregory 171 Sedwick, James 244 Shevelev, Raphael 173 Singles, Mark 175 Skrivanek, Radek 247 Smith, Brian D. 249 Smith, Michael A. 113 Smithson, Aline 251 Snodgrass, Richard 177 Sometimes a Great Notion 73 Speer, Steve 179 spotlight illumination 159 Starr, Markham 181 Steinhauer, Peter 183 Steinmann, Catherine 185 Stephens, Jeromie 186 Stieglitz, Alfred 225 Stockdale, Douglas 251, 253 story 19, 21, 23, 33, 37, 46, 47, 59, 69, 101, 129, 134, 139, 177, 179, 181, 186, 189, 191, 193, 205, 209, 247, 249, 253, 259 storytelling 46, 48, 54, 129 Strand, Paul 193 Strom, Stephen 255 Sudek, Josef 109 Surrealists 159 Swiderski, Robert 189 T Taos, New Mexico 39 Tarot cards 81 the moment 17, 19, 25, 47, 99, 117, 133, 137, 163, 169, 171, 187, 205, 213 The Scream 63 Things I’ve Learned About Photography 175 Thompson, Cole 191 Tir a’ Mhurain 193 tonal relationships 21, 46, 60, 85 Tonningsen, Peter 256 Tornick, Josef 193 tourist 191, 209 traditional landscape 104 trees 51, 64, 73, 81, 96, 107, 149, 157, 183, 200, 219, 240, 253 Trefethen, John 194 Tress, Arthur 251 tripod 73, 92, 183, 205 triptych 123, 244 Tuscany 259 two-dimensional 83, 105, 115, 147, 153, 157, 165, 171, 237 Tyrrell, Jay 197 U Uelsmann, Jerry 159, 213 universality 31 Ut, Huynh Cong “Nick” 101 Uzzle, Burk 173 V vertigo 93, 127 Vine, Terry 199 visual fidelity 151 visual literacy 71, 99, 102, 103, 186, 193 W Wainwright, Paul 200 War of the Worlds 197 Washburn, Bradford 85 Watanabe, Hiroshi 203 water 15, 21, 25, 43, 63, 66, 81, 87, 89, 96, 97, 115, 117, 119, 133, 183, 206, 235, 247 Webber, George 205 Weeping Mary 125 Wegman, William 171, 213 Wells, H. G. 197 Wells, Orson 45 Weston, Edward 17, 85, 186, 225 What Great Paintings Say 143 what we see 17, 77, 83, 113, 125, 139, 191, 235 Whistler, James McNeill 251 Whistler’s Mother 251 white balance 41, 222, 235 White, Minor 6, 33, 63, 154 Wiese, Larry 206 Williams, Jimmy 259 Winogrand, Garry 185 Witherill, Huntington 209 Woodcock, Janet 211 World War I 123 World War II 33, 191 Wratten 25A 104 Y Yosemite 101, 149 Young, Bill 85 Young Farmers 52 yugen 191 Z Zedano, Chris 213, 251 Zen 34, 63 Zone-and-Tone 189, 225 Zorn, Bill 215 Zupcu, Ion 194 About the QR Codes in This Book In addition to the written comments that accompany each photograph, you will also find a QR code on the page with the text and image. This QR code links to an audio recording on our website. The audio is not simply a recorded version of the written text, but rather an extension of the ideas prompted by each image. The QR code can be scanned with your tablet or smartphone and the audio will play as you look at the image in the book — a true multi-media, paper-based book experience! QR Code Instructions for iPad, iPhone, or Android devices 1. If you don’t already have one, download a QR code reader app for your iPad or Android tablet or smartphone. We use the free “QR Code Reader” from www.scan.me, available for all iPhone, iPad, and Android devices. 2. Open the app on your tablet or smartphone and aim the camera at the QR code you want to open. 3. The app will either automatically take a picture of the QR code, or you may need to press the button in the app for the camera to capture the code. When tha app has finished scanning the code, you will be taken directly to the audio file on our website. 4. An audio player will appear. Press the play button to listen to the audio. Test using this QR code. Accessing the audio without a tablet or smartphone If you do not have a tablet or smartphone you can still access the additional audio commentary by going to this webpage on your computer or laptop. http://www.lenswork.com/laiaudio/laiaudio.html Use the individual links on this web page to play the audio files associated with each photographer’s image.
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