Edge of the Sea

"The shore is an ancient world, for as long as there has been an earth and sea there has been this place of the meeting of land and water. Yet it is a world that keeps alive the senses of continuing creation and of the relentless drive of life. Each time that I enter it, I gain some new awareness of its beauty and its deeper meanings, sensing that intricate fabric of life by which one creature is linked with another, and each with its surroundings...

There is a common thread that links these scenes and memories–the spectacle of life in all its varied manifestation as it appeared, evolved and sometimes died out. Underlying the beauty if the spectacle there is meaning and significance. It is the elusiveness of that meaning that haunts us, that sends us again and again into the natural world where the key to this riddle is hidden.

It sends us back to the edge of the sea, where the drama of life played its first scene on earth and perhaps even its prelude; where the forces of evolution are at work today, as they have been since the appearance of what we know as life, and where the spectacle of living creatures faced by the cosmic realities of their world is crystal clear." 

– Rachel Carson, The Edge of the Sea

Simplicity, Beauty, Fearlessness

"Simplicity, Beauty, Fearlessness: 

so it is ordained!

Fearlessness is our guide.

Beauty is the ray of 

comprehension and upliftment.

Simplicity is the sesame to the gates
of the coming mystery." 

- Nicholas Roerich 

Sea of Ignorance and Wonder

“We live on an island

surrounded by a sea of ignorance.

As our island of knowledge grows,

so does the shore of our ignorance.” 

― John Archibald Wheeler

"This oceanic feeling of wonder

is the common source of 

religious mysticism,

of pure science and

art for art's sake." 

― Arthur Koestler

Hallucinatory Landscapes

“Sometimes, when one is moving silently through such an utterly desolate landscape, an overwhelming hallucination can make one feel that oneself, as an individual human being, is slowly being unraveled. The surrounding space is so vast that it becomes increasingly difficult to keep a balanced grip on one's own being. The mind swells out to fill the entire landscape, becoming so diffuse in the process that one loses the ability to keep it fastened to the physical self. The sun would rise from the eastern horizon, and cut it's way across the empty sky, and sink below the western horizon ... And in the movement of the sun, I felt something I hardly know how to name: some huge, cosmic love.” 

― Haruki Murakami

The Wind-Up Bird Chronicle

The Left-Brain looks at what the Right-Brain has been doing for the last 10 years

"The great pleasure and feeling in my right brain is more than my left brain can find the words to tell you." - Roger Sperry

As readers of my blog must surely know by now, my "day job" consists of being a principal research scientist for a naval operations think tank. (Operational research - or "OR" for short - has a long and interesting history, some early days of which are wonderfully recounted in a recent biography of Patrick Blackett, who was a pioneer British OR pioneer in WWII; see Blackett's War: The Art of Warfare). So, being an OR analyst/physicist by day, fine-art photographer at all other hours, I am a veritable textbook exemplar of a broad class of creatures best described as quantum superpositions of their left and right brains. While my left brain is immersed in data, equations, computer code, and endless Powerpoint slides full of those d&#n military acronyms and nested lists of bullets (here is Richard Feynman's take on Powerpoint bullets in his autobiographical What Do You Care What Other People Think?, from the passage in the book in which he describes his role during the Space Shuttle Challenger disaster: “Then we learn about 'bullets' - little black circles in front of phrases that were supposed to summarize things. There was one after another of these little goddamn bullets in our briefing books and on the slides.”), my right brain is looking forward to when it will next look through a camera viewfinder, work in Photoshop, and/or do some printing. Normally - actually, almost always - I deliberately keep my conscious self focused on either one or the other side, but never both at the same time, though I appreciate the inevitability of the "other" - inactive - side quietly lurking in some dark corner of my unconscious, never quite "letting go" completely. After all, human-crafted distinctions like "right brain" and "left brain" are crude categories at best and meaningless at worst, and next to useless in providing a genuine insight into who "we" are fundamentally. 

Still, every once in a while, it is an informative exercise to welcome the cooperation of both sides of one's brain. To wit, and while "in between" projects (a horrific euphemism for "I've just completed a major project and am in dire need of recharging my creative batteries!"), I've applied some very basic skills I use in my left-brain "day job" - namely, that of data collection and visualization - to help my right-brain better understand what it has been doing for the last 10 years. Note that I use the word "doing" here to embody only those qualities of a portfolio that potentially say something about the type of portfolios that have arisen during this time, in the self-defined context of other portfolios that came before and after a given one, and emphatically not - at least in this blog entry - anything about any aesthetic or philosophical concerns. That is to say, this exercise consists of using exclusively left-brain measures (about my portfolios: their number, subject matter, size, and so) to help my left-brain discover possible latent patterns in what my photographic body of work reveals about what my right-brain has been interested in over the last 10 years.

Toward this end, I've recently let my left brain examine my right brain's last decade's worth of photo portfolios - I count 21 major portfolios (I've left off a few that overlap with prior years), many of which have been published in various magazines - and cataloged the results according to where a given portfolio falls in each of five categories: (1) duration of time of actual shooting using a camera (= x-axis), (2) duration of time spent processing in Photoshop (= y-axis), (3) the size of the final portfolio, measured by total number of images that make up the given portfolio, not the number of raw images from which that final set was eventually distilled (= size of the "point" that is plotted; the overall scale is set by the 125 images that make up my "synesthetic landscape" portfolio), (4) the relative age of a portfolio (the lighter the shade of grey of the point being plotted, the older the given portfolio is), and (5) whether the portfolio has been published and/or (a significant portion has been) exhibited (indicated in red).

The "infographic" shown at the top of this blog entry summarizes my findings, which reveals a few interesting trends (the x and y axes are both expressed in years). First, the durations of my portfolios essentially span the entire 10 years period of my little experiment, with examples that range from literally a day (such as my Luray Caverns portfolio) to a perpetually ongoing series that, not so coincidentally, matches a core theme of my blog (namely "Tao"). Second, except for the Synesthetic Landscapes series, my most recent portfolios (denoted by "disks" that are nearly or close-to being opaque) are relatively short in duration - about a year or less in duration - but cover a wide span of processing times (from about a week to more than a year). For example, while my Scotland portfolio was - of necessity, of course - captured during the 3 week period my wife and I were in Scotland, it consumed significantly over a years' worth of time to process (and still provides many happy hours "reimagining" past shots now, years after our trip in 2009). The same can be said about my Tetons and Yellowstone portfolio. Third, neither the duration nor processing times have much correlation with whether or not a given portfolio was published, as there are representatives of the published set (highlighted in red) that span both sets of axes. Fourth, except for a few small (Megaliths - labeled "5" in the infographic, for no good reason other than it was the fifth portfolio I counted statistics for and its size is too small to permit the title to be shown - and Entropic Melodies) and large (Synesthetic Landscapes) sized outliers, essentially all of my portfolios contain between about 40 and 80 images.

Finally, two observations present themselves about portfolio publications. The first is an obvious but still amusing "insight" that the size of my portfolios has little if anything to do with whether it was published, as both small and large efforts have appeared in print, albeit the result is skewed by a number of publications in Lenswork magazine (whose editorial policy is to either accept a portfolio "as is" in terms of size - whatever the size - or not at all). I am glad to see that I've persevered in completing fairly large sized portfolios (e.g., "Trees" and Swirls, Whorls, and Tendrils) without the "reward" of publications (though, here again, the result is perhaps not all that surprising, given that that is rarely my goal as I work toward completing a given project).

The second observation, and more surprising insight, revealed itself only after digging a bit deeper into what the infographic shows directly. I noticed that each of my portfolios belongs to one of three general types of content, as made clear by their titles. The three types are place (Luray, Hawaii, Greece, Scotland, and Tetons), thing (Ciphers, Glyphs, Megaliths, Flame, Portals, Swirls, and Water), and theme (Entropic Melodies, Metaphor, Micro Worlds, Spirit and Light, Synesthetic Landscapes, Tao, and Geometry). What is surprising is that, of the 9 portfolios that have been published, 7 come from the themed portfolios set; indeed, all 7 in that category have been published! While my sample set of 10 years' worth of work and 21 portfolios is much too small to yield anything but the most rudimentary of observations, it is tempting to speculate that themes generally resonate deeper with viewers (and editors and curators) than do places and things.

Yesteryear Versions of Today's Magazines - Part 2

In my last post, I recommended a recently published book that collects some early articles and portfolios that appeared in Aperture Magazine while under the editorship of Minor White. All the articles appearing in the new book were first published between the years 1952 and 1976, and - as explained in the previous post - are very different in subject and content from what typically appears between the covers in the current incarnation of the magazine.  

I promised to introduce the second of two anthologies I've recently enjoyed of this type, to which we turn to now. The difference this time is that both the reprinted articles and the book itself are "old," the articles dating back to its inception through 1977 and the first (only, so far as I know) edition of book itself to 1979! The magazine is Popular Photography, and has been around since 1937. The anthology I'm recommending is called The Best of Popular Photography, edited by Harvey V. Fondiller, and available from Amazon in used form (which is the form I bought mine in) for as little as $0.85; new ones starting at $9. Barnes and Noble also lists "new" versions, but they seem needlessly expensive (running from $24 up to $130.00).

To say it has been a long time since I've done much else than inattentively flip through the heavily-laden-with-advertisements modern variant of this once-wonderful magazine at Barnes & Noble is an understatement. Rarely offering more than a few paragraphs that contain general musings (if you can find them in the thicket of adds!) - about how "one should not forget to take a tripod on a trip," or "here is yet another lens you absolutely need (that reads like the review of last month's lens-of-the-month, which reads like..," to "you too can become an Ansel Adams with a few easy steps " - the magazine IMHO contains effectively nothing of use to anyone even remotely interested in the art of photography.

But, alas, this was not always the case, as in the early decades of this once fine magazine some very memorable prose, reviews, insights - and even art! - found their way into its pages. The anthology contains 392 thick semi-gloss pages - which is good because a thick stock generally ensures that used copies will likely have stood the test of time and use (mine is old, but in very good condition) - is broken into 8 sections (that range from retrospectives, to personalities, to techniques (most of which are just as applicable to today's digital world as they are to the analog world they were spawned in), to photojournalism, to careers, to history. There are also short but interesting color and black&white portfolios.

There are articles by Margaret Bourke-White, Ansel Adams, W. Eugene Smith (on Dorothea Lange), and Beaumont Newhall; essays on Andre Kertesz, Edward Steichen, Paul Strand, Edward Weston, Robert Capa, Arnold Newman, Henri Cartier-Bresson, and Weegee (among a host of others); retrospectives on the early years of photojournalism; early "debates" on the differences between snapshots and "real" images, and speculations on "what makes a good photograph?" (that are typically deeper and more probing than many of today's sound-bit bits of "wisdom"); and essays on emerging technologies like holography (one article had the prescient audacity to ask, by its title, "Holography - Is It Art? ;-). To give you an idea of the loving detail most essays provide (in stark contrast to the "we'll give you all you need to know in a moment or less of your time" approach followed by most of today's glossy-magazine editors), an essay on Arnold Newman (first published in November 1973) runs 8 pages and contains 6 images (including a wonderful full-page reproduction of his famous portrait of Picasso); the essays on Alfreed Stieglitz (published in September 1946) and Cartier-Bresson (published in May 1967) run 8 pages each and contain 7 and 3 reproductions, respectively; and the one on Paul Strand that appeared in April 1972 runs a full 12 pages (with small type!) and contains 7 reproductions. A mini-course on portrait lighting - again, just as relevant today as in 1973 when first published - runs 11 pages and contains more useful information that most of today's magazines seem to publish collectively over the course of year.

An added bonus in this anthology is a sprinkling of pages in which yesteryear products and advertisements appear. You can read about what the Polaroid Land Camera cost in 1949 ($87.75), the "new Leningrad" SLR from Russia in 1958,  and the Polaroid SX-70 (introduced in 1972). The book concludes with a useful index of all authors and pages on which discussions about a particular photographer appear. Pages 91-103 contain the results of a 1958 international poll  (of 243 critics, teachers, editors, art directors, consultants, and photographers) on the world's "10 greatest photographers." I'd give away the results of this poll, but that would be spoil the fun;-)

This anthology is highly recommended, for reference, for consultation, or simple joy of reading with a warm drink in hand in your favorite easy chair on a cozy rainy Sunday afternoon.

Yesteryear Versions of Today's Magazines - Part 1

Continuing on with my recently started series of discussing / reviewing photography-related books that are a bit "off the beaten" path (i.e., not necessarily those that one would find on shelves at the neighborhood Barnes and Noble store but which would be of interest to the dedicated photographer), we introduce the first of two anthologies of magazines that are still around but containing articles once published a generation (or more) ago.

The first is Aperture Magazine Anthology: The Minor White Years, 1952-1976, edited by Peter C. Bunnell and published by Aperture (the second will be revealed in my next post). As the title suggests, Aperture was founded in 1952, and counted among its founders such luminaries as Minor White, Ansel Adams, Dorothea Lange, Barbara Morgan, Dody Weston Thompson, Nancy Newhall and Beaumont Newhall. Inspired, at the time, by the memory of Alfred Steiglitz's long defunct Camera Work (published by Stieglitz from 1903 to 1917), the original incarnation of Aperture continued Camera Work's devotion to quality reproductions, and added a generous bounty of thoughtful essays, commentaries, and reviews. Aperture's appearance coincided with an important crossroad at which fine-art photography found itself at that time, which in a sense mirrored a similar crossroad met head-on by Camera Work. Camera Work was conceived as a publishing vehicle to establish - and promote - photography as something more than "just" a mechanical means to mechanical means of reproducing "images out there, in front of a lens" (see Photo Secession); i.e. it sought nothing less than to establish photography as a fine art. Arguably, and in almost all important respects, it succeeded laudably in this goal. 

When Aperture arrived, some 35 years later, the "fine art" of photography had again come under assault. But this time - ironically - not because people did not accept photography as a bona-fide art form (the efforts of Stieglitz, Adams, Weston, and others had made sure of that!), but rather because so many simultaneous channels of expression had arisen in the intervening years - from the social-documentary-style that came into vogue in the 1930s to the new photojournalism introduced by Life in the 1940s to a new breed of photography that is now called "street photography" and honed to early perfection by Henri Cartier-Bresson - that the focus on "fine art" photography, for its own sake, had started to wane. And so, by the time Aperture arrived in 1952, the photographic world was ripe for a renewed discussion of photography as art.

Under White's editorship, all of the important fundamental questions one might expect to be asked of a still nascent "fine art" medium were asked and discussed, at length, by some of that bygone era's greatest masters. What is the creative potential of photography? What is the relationship between photography and art? What is the relationship between text and image? Is fine-art photography something that can be taught, and, if so, what is the best way to do so? What is the role of criticism? And so on.

Included in the 40 reprinted essays (by such masters as Adams, Newhall, Wynn Bullock, Aaron Siskind, Carl Chiarenza, and Frederick Sommer, among others) are 14 essays by White himself, making this an indispensable resource for admirers of Minor White and his philosophy of photography as a spiritually infused creative medium (a group to which I unabashedly admit my membership). The collection also includes a complete index of articles appearing in Aperture magazine from 1952 to 1976. Since (IMHO, and as I've written a few words about before) later versions of Aperture - beginning with perhaps the very first issue published after White's departure (he died in 1976), and including the run through the most recent issues - took the magazine onto a vastly different - dissonant even - path from the one it would have likely followed had it still been under White's leadership, those readers and photographers who - like me - feel a certain revulsion to the "shock element" that characterizes so much of today's "art photography," will cherish the timeless wisdom of a bygone era contained in this book. My only lament is that this anthology is not (yet?) available as an eBook.