Latent Divinity

"Divinity reveals herself in all things.
Everything has Divinity latent within itself.
For she enfolds and imparts herself
even unto the smallest beings,
and from the smallest beings,
according to their capacity.
Without her presence nothing
would have being, because she
is the essence of the existence of
the first unto the last being."

- Giordano Bruno (1548 - 1600)

Sameness and Novelty

"A rhythm involves a pattern and to that extent is always self-identical. But no rhythm can be a mere pattern; for the rhythmic quality depends equally upon the differences involved in each exhibition of the pattern. The order of rhythm is therefore a structure of deviating repetitions... The essence of rhythm is the fusion of sameness and novelty; so that the whole never loses the essential unity of the pattern, while the parts exhibit the contrast arising from the novelty of their detail."

- Alfred North Whitehead (1861 - 1947) 

One Side of a Mirror

"There are two worlds. The world you understand and the world you don’t. These worlds exist side by side, sometimes only centimeters apart, and the great majority of people spend their entire lives in one without being aware of the other. It’s like living in one side of a mirror: you think there is nothing on the other side until one day a switch is thrown and suddenly the mirror is transparent. You see the other side."

- Anthony Horowitz (1955 - )

Perceptive Play

"The essential activity of science consists of thought, which arises in creative perception and is expressed through play. This gives rise to a process in which thought unfolds into provisional knowledge which then moves outward into action and returns as fresh perception and knowledge. This process leads to a continuous adaptation of knowledge which undergoes constant growth, transformation, and extension. Knowledge is therefore not something rigid and fixed that accumulates indefinitely in a steady way but is a continual process of change. Its growth is closer to that of an organism than a data bank."

 - David Bohm (1917 - 1992)
Science, Order and Creativity

Subjective Wholes

"As we analyze a thing into its parts or into its properties, we tend to magnify these, to exaggerate their apparent independence, and to hide from ourselves (at least for a time) the essential integrity and individuality of the composite whole. We divided the body into its organs, the skeleton into its bones, as in very much the same fashion we make a subjective analysis of the mind, according to the teaching of psychology, into component factors: but we know very well that judgement and knowledge, courage or gentleness, love or fear, have no separate existence, but are somehow mere manifestations, or imaginary coefficients, of a most complex integral."

- D’Arcy Wentworth Thompson (1860 - 1948)
On Growth and Form

Relation Between Observer and Thing

"The real world gives the subset of what is; the product space represents the uncertainty of the observer. The product space may therefore change if the observer changes; and two observers may legitimately use different product spaces within which to record the same subset of actual events in some actual thing. The “constraint” is thus a relation between observer and thing; the properties of any particular constraint will depend on both the real thing and on the observer. It follows that a substantial part of the theory of organization will be concerned with properties that are not intrinsic to the thing but are relational between the observer and thing."

- W. Ross Ashby (1903 - 1972)

Peaceful Moments

"How peaceful it was, with the light evening breeze stirring the small leaves of the grapevine that clustered around the electric bulb, making the shadows move and change on the yellow mat below. For a moment he pushed aside the thought of money. From time to time the dark water beside them rippled audibly, as if a tiny fish had come to the surface for an instant and then darted beneath. It was in peaceful moments such as this, his father had said, that men were given to know just a little of what paradise was like, so that they might yearn for it with all their soul, and strive during their time on earth to be worthy of going there."

- Paul Bowles (1910 - 1999) 
The Spider's House

Materializing the Invisible

"Art resides even in things
with no artistic intentions.

...

Photography is making a copy of reality,
but when it is photographed twice
it goes back to the reality again.
That is my theory.

...

Art is technique: a means by which
to materialize the invisible
realm of the mind.
...

Photography is like a found object.
A photographer never makes an actual subject;
they just steal the image from the world…
Photography is a system of saving memories.
It’s a time machine, in a way,
to preserve the memory,
to preserve time.

...

I’m inviting the spirits
into my photography.
It’s an act of God."

- Hiroshi Sugimoto (1948 - )

Little Ripples

 

"The waves of the sea, the little ripples on the shore, the sweeping curve of the sandy bay between the headlands, the outline of the hills, the shape of the clouds, all these are so many riddles of form, so many problems of morphology.

...

Our own study of organic form, which we call by Goethe's name of Morphology, is but a portion of that wider still Science of Form which deals with the forms assumed by matter under all aspects and conditions, and, in a still wider sense, with forms which are theoretically imaginable.

...

We rise from the conception of form to an understanding of the forces which gave rise to it... in the representation of form we see a diagram of forces in equilibrium, and in the comparison of kindred forms we discern the magnitude and the direction of the forces which have sufficed to convert the one form into the other.

...

We have come to the
edge of a world of which
we have no experience, and
where all our preconceptions
must be recast."

- D’Arcy Wentworth Thompson (1860 - 1948)
On Growth and Form

Metaphorical Thought

"In asking philosophical questions, we use a reason shaped by the body, a cognitive unconscious to which we have no direct access, and metaphorical thought of which we are largely unaware. The fact that abstract thought is mostly metaphorical means that answers to philosophical questions have always been, and always will be, mostly metaphorical. In itself, that is neither good nor bad. It is simply a fact about the capacities of the human mind. But it has major consequences for every aspect of philosophy. Metaphorical thought is the principal tool that makes philosophical insight possible and that constrains the forms that philosophy can take."

- George Lakoff (1941 - )

All Things End in the Tao

"The Tao is nameless and unchanging.
Although it appears insignificant,
nothing in the world can contain it.

If a ruler abides by its principles,

then her people will willingly follow.

Heaven would then reign on earth,

like sweet rain falling on paradise.

People would have no need for laws,

because the law would be written on their hearts.

Naming is a necessity for order,

but naming cannot order all things.

Naming often makes things impersonal,

so we should know when naming should end.

Knowing when to stop naming,

you can avoid the pitfall it brings.

All things end in the Tao

just as the small streams and the largest rivers
flow through valleys to the sea."

- Lao Tzu (6th century – 4th century BCE)
Tao Te Ching, Chapter 32

Time and Space as Dreams

"The reason why we want to remember an image varies: because we simply ‘love it,’ or dislike it so intensely that it becomes compulsive, or because it has made us realize something about ourselves, or has brought about some slight change in us. Perhaps the reader can recall some image, after the seeing of which he has never been quite the same.

...

...insight, vision, moments of revelation. During those rare moments something overtakes the man and he becomes the tool of a greater Force; the servant of, willing or unwilling depending on his degree of awakeness. The photograph, then, is a message more than a mirror, and the mans a messenger who happens to be a photographer.

...

Camera and eye are together a time machine with which the mind and human being can do the same kind of violence to time and space as dreams."

- Minor White (1908 - 1976)

Postscript. The "Minor White: The Eye That Shapes" exhibit was hosted by the Museum of Modern Art (MoMA) in New York in 1989, with an accompanying book and catalog, edited by Peter C. Bunnell (used copies of which are sometimes still available, though they are not cheap: e.g., $80 from Amazon). Amazingly, MoMA has made a pdf of Bunnell's 322 page book available for free (it is a 62Mb download)! Kudos, MoMA 😊

Trust in Nature

"If you trust in Nature, in the small Things that hardly anyone sees and that can so suddenly become huge, immeasurable; if you have this love for what is humble and try very simply, as someone who serves, to win the confidence of what seems poor: then everything will become easier for you, more coherent and somehow more reconciling, not in your conscious mind perhaps, which stays behind, astonished, but in your innermost awareness, awakeness, and knowledge."

- Rainer Maria Rilke (1875 - 1926)
Letters to a Young Poet 

The Incomprehensible Void

"We all move on the fringes of eternity and are sometimes granted vistas through fabric of illusion. Many refuse to admit it: I feel a mystery exists. There are certain times, when, as on the whisper of the wind, there comes a clear and quiet realization that there is indeed a presence in the world, a nonhuman entity that is not necessarily inhuman.

...

My private glimpses of some ideal reality create a lasting mood that that has often been recalled in some of my photographs... the subtle change of light across a waterfall moved me as did a singular vista of a far-off mountain under a leaden sky. Others might well have not responded at all. Deep resonances of spirit exist, giving us glimpses of a reality far beyond our general appreciation, and knowledge... no matter how many stars we see in a clear mountain sky, we now know that they are but a minuscule fragment of the total population of suns and planets in the billions of galaxies out there in the incomprehensible void.

...

The only things in my life that compatibly exist with this grand universe are the creative works of the human spirit.

...

I have often had a retrospective vision where everything in my past life seems to fall with significance into logical sequence. Intuition, suspicion, or confidence in new ventures; there is a strange strain within me when advantage is not taken of some situation, the immediacy of recognition of the rightness or wrongness of a mood, a response, a decision - they are so often valid that I am increasingly convinced that we have yet to grasp the reality of existence."

- Ansel Adams (1902 - 1984)
Autobiography

Contemplation

 

"The life of contemplation implies two levels of awareness: first, awareness of the question, and, second, awareness of the answer. Though these are two distinct and enormously different levels, yet they are in fact an awareness of the same thing. The question is, itself, the answer. And we ourselves are both. But we cannot know this until we have moved into the second kind of awareness. We awaken, not to find an answer absolutely distinct from the question, but to realize that the question is its own answer. And all is summed up in one awareness - not a proposition, but an experience: "I AM"."

- Thomas Merton (1915 - 1968)

It is All Transcendental

"The syntactical nature of reality,
the real secret of magic,
is that the world is made of words.
And if you know the words
that the world is made of,
you can make of it
whatever you wish.
...
There is a transcendental
dimension beyond language...
It's just hard as hell to talk about!
...
Reality is, you know,
the tip of an iceberg of irrationality
that we've managed to drag
ourselves up onto for a
few panting moments before
we slip back into the
sea of the unreal.
...
It is the imagination that

argues for the Divine Spark
within human beings.
It is literally a decent of
the World's Soul into all of us.
...
We live in condensations of our imagination.
...
The main thing to understand is
that we are imprisoned in
some kind of work of art.
...
There is no mundane dimension really,
if you have the eyes to see it,
it is all transcendental."

- Terence McKenna (1946 - 2000)

The Sage's Heart-Mind Mirror

"It is its own source, its own root. Before Heaven and earth existed it was there, firm from ancient times. It gave spirituality to the spirits of God; it gave birth to Heaven and to earth. It exists beyond the highest point, and yet you cannot call it lofty; it exists beneath the limit of the six directions, and yet you cannot call it deep. It was born before Heaven and earth, and yet you cannot say it has been there for long; it is earlier than the earliest of time, and yet you cannot call it old.

...

The sage is still not because he takes stillness to be good and therefore is still. The ten thousand things are insufficient to distract his mind - that is the reason he is still. Water that is still gives back a clear image of beard and eyebrows; reposing in the water level, it offers a measure to the great carpenter. And if water in stillness possesses such clarity, how much more must pure spirit. The sage's heart-mind in stillness is the mirror of Heaven and earth, the glass of the ten thousand things."

- Chuang Tzu (c.369 B.C. - c.286 B.C.)

The Subtle Gāthās of Rock and Water

"Zen master Jingcen of Changsha [Zhaoxian] was once asked by a monastic, 'How do you turn the mountains, rivers, and great earth and return to the self?' Changsha said, 'How do you turn the self and return to the mountains, rivers, and great earth?'

Commentary. Responding to the myriad things from the perspective of the self is delusion. Manifesting the self from the perspective of the myriad things is enlightenment. From ancient times to the present, people have regarded the myriad things as separate from themselves, not realizing that the universe is the body of the Buddha—this very body and mind itself. What do you see when you behold the mountain? Can you see the real form of truth? What do you hear when you listen to the river sounds? Can you hear the subtle gāthās of rock and water? Or are you trapped in the superficiality of sound and form? Mountains, rivers, and the great earth are ceaselessly manifesting the teachings, yet they are not heard with the ear or seen with the eye. They can only be perceived with the whole body and mind. Be that as it may, how do you turn the self and return to the mountains, rivers, and the great earth? What is it that you are calling mountains, rivers, and the great earth? Indeed, where do you find your self?"

- John Daido Loori (1931 - 2009)
The True Dharma Eye 

Landscapes and Time

"I start with two proposals. The first: Landscape is time materialized. Or, better, Landscape is time materializing: landscapes, like time, never stand still. The second: Landscapes and time can never be out there: they are always subjective.

The first: In contemporary Western discourse... landscape may be defined in many different ways, but all incorporate the notion of time passing. Thus landscape as solid geology (as in a granitic landscape, a karst landscape) speaks to evolutionary time, aeons of time: all history in a grain of sand. Landscape as land form or topography (a desert landscape, a riverine landscape), again, has great time depth but may involve human interventions, human histories. With landscape as mantled (as in a landscape of peat and moor, a tropical landscape) the processes quicken, sometimes invoking seasonal transience. Landscape as land use (an arable landscape, a country house landscape, a plantation landscape) speaks of things done to the land action and movement, the effects of historically specific social/political/cultural relationships.

...

The time that passes in these scapes is not uniform. Sometimes a linear notion is implied: units of time clipped together, uniformly ticking over as the years, centuries, millennia, and much more, go by.

...

The second proposal follows from the first. Landscapes and time are not objective, not a given, not neutral... This is not to say that the world does not exist outside of human understanding, of course it does. When we have bombed ourselves out of existence or made the world unlivable for human beings, the world will (probably) still exist and will go on changing. The point is simply that it is we, through our embodied understanding, our being in the world, who create the categories and the interpretations: Human beings cope with the phenomena they encounter by slotting them in to the understanding of the world which they have already developed: nothing is perceived without being perceived as something. If there was no person, there would still be rocks, trees, mountains but no one to recognize them as such or to call them by those names"

- Barbara Bender, Time and Landscape

Luminous Beings

"'Don’t try to hurry,' he said. 'You’ll know in due time and then you will be on your own, by yourself.' 'Do you mean that I won’t see you any more, don Juan?' 'Not ever again,' he said. 'Genaro and I will be then what we always have been, dust on the road.' I had a jolt in the pit of my stomach. 'What are you saying, don Juan?' 'I’m saying that we all are unfathomable beings, luminous and boundless. You, Genaro and I are stuck together by a purpose that is not our decision.' 'What purpose are you talking about?' 'Learning the warrior’s way. You can’t get out of it, but neither can we. As long as our achievement is pending you will find me or Genaro, but once it is accomplished, you will fly freely and no one knows where the force of your life will take you.' 'What is don Genaro doing in this?' 'That subject is not in your realm yet,' he said. 'Today I have to pound the nail that Genaro put in, the fact that we are luminous beings. We are perceivers. We are an awareness; we are not objects; we have no solidity. We are boundless. The world of objects and solidity is a way of making our passage on earth convenient. It is only a description that was created to help us. We, or rather our reason, forget that the description is only a description and thus we entrap the totality of ourselves in a vicious circle from which we rarely emerge in our lifetime.'"

- Carlos Castaneda (1925 - 1998)
Tales of Power 

Spielraum

"Every act of experience, whatever it may be that is experienced in the proper sense as it comes into view, has eo ipso, necessarily, a knowledge and potential knowledge having reference to precisely this thing, namely, to something of it which has not yet come into view. This preknowledge is indeterminate as to content, or not completely determined, but it is never completely empty; and were it not already manifest, the experience would not at all be experience of this one, this particular, thing. 

Every experience has its own horizon; every experience has its core of actual and determinate cognition, its own content of immediate determinations which give themselves; but beyond this core of determinate quiddity, of the truly given as 'itself-there,' it has its own horizon. This implies that every experience refers to the possibility... of obtaining, little by little as experience continues, new determinations of the same thing... And this horizon in its indeterminateness is copresent from the beginning as a realm (Spielraum) of possibilities, as the prescription of the path to a more precise determination, in which only experience itself decides in favor of the determinate possibility it realizes as opposed to others."

- Edmund Husserl (1859 - 1938)
Experience and Judgment 

Ephemeral Sights

"This is life. It is everywhere, and it is here for the taking. I am alive and I know this, now, in a more profound way than when I am doing anything else. These sights are ephemeral, fleeting treasures that have been offered to me and to me alone. No other person in the history of the world, anywhere in all of time and space, has been granted this gift to be here in my place. And I am privileged, through the camera, to take this moment away with me. That is why I photograph."

- Bill Jay (1940 - 2009)

"And so castles made of sand slips into the sea, eventually."

- Jimi Hendrix (1942 - 1970)

"All is ephemeral, both what remembers and what is remembered."

- Marcus Aurelius (121 - 180)   

Order and Chaos

"Einstein's space is no closer to reality than Van Gogh's sky. The glory of science is not in a truth more absolute than the truth of Bach or Tolstoy, but in the act of creation itself. The scientist's discoveries impose his own order on chaos, as the composer or painter imposes his; an order that always refers to limited aspects of reality, and is based on the observer's frame of reference, which differs from period to period as a Rembrandt nude differs from a nude by Manet."

- Arthur Koestler (1905 - 1983)

"Although I am even now still a layman in the area of mathematics, and although I lack theoretical knowledge, the mathematicians, and in particular the crystallographers, have had considerable influence on my work of the last twenty years. The laws of the phenomena around us order, regularity, cyclical repetition, and renewals have assumed greater and greater importance for me. The awareness of their presence gives me peace and provides me with support. I try in my prints to testify that we live in a beautiful and orderly world, and not in a formless chaos, as it sometimes seems."

- M. C. Escher (1898 - 1972)

"Cosmos is a Greek word for the order of the universe. It is, in a way, the opposite of Chaos. It implies the deep interconnectedness of all things. It conveys awe for the intricate and subtle way in which the universe is put together."

- Carl Sagan (1934 - 1996) 

Known and the Unknown

"Reality for me is the known, it is of sense-brain-mind. Existence is the unknown, for no one has created any existence. I experience reality. I believe in existence. Its signals of light and sound as well as all its other signals assail my senses. I don’t know what light or any of the other signals are except that they are manifestations of existence. If I photograph in such a way that I meaningfully evoke a sense of the known and the unknown, I feel I have succeeded."

- Wynn Bullock (1902 - 1975)

Postscript. This diptych contains far too many "meanings" and associations than I can possibly make explicit using mere words. And yet, apart from images and words (as accompanied by omnipresent sounds, smells, tastes, and feelings & intuitions), what is our "world" if not an ever-churning ineffable broth of shared-but-solitary experiences that we wish to communicate some vestiges of to others? This past week, my wife and I had the honor and privilege of settling our youngest child (Josh) into college. It was simultaneously a most joyous and beguilingly melancholy affair, as all parents with college-age offspring know all-too-well. The images in the diptych above were taken a day after we waved to Josh one last time during our "settling-him-in visit" as he headed off to his dorm, at a beach not too far from his college. I was drawn to the fleeting patterns of sand and weeds as they self-organized by the gentle lapping of the waves, only to disassemble and re-organize into myriad other related shapes and geometries as each new wave rolled in. What are we if not conscious bits of "sand and weeds" trying to retain (and understand?) our own transient patterns in the vast - and vastly unknown - phantasmagoric "reality" we call life? What future manifestations of the "pattern" we now call "Josh" will the "waves" of life sculpt in future times? And so, here are some loose associations that this diptych will for me henceforth always be accompanied by whenever my eyes gaze upon it: rhythms (of waves, of winds, and life's energies); ephemerality; yin/yang; known & unknown; memories, longing, and anticipations; the simultaneity of past, present, and future; and - simply and irreducibly - a bird leaves its nest as Josh goes away to college.

Universe as Self-Excited Circuit

“Through our eyes,
the universe is perceiving itself.
Through our ears, the universe
is listening to its harmonies.
We are the witnesses through
which the universe becomes
conscious of its glory,
of its magnificence.”

- Alan Watts (1915 - 1973)

"Each query of equipment plus reply of chance inescapably do build a new bit of what we call “reality”. Then for the building of all of law, “reality” and substance… what choice do we have but to say that in some way, yet to be discovered, they all must be built upon the statistics of billions upon billions of such acts of observer-participancy."

"Beginning with the big bang, the universe expands and cools. After eons of dynamic development it gives rise to observership. Acts of observer-participancy... in turn give tangible 'reality' to the universe not only now but back to the beginning. To speak of the universe as a self-excited circuit is to imply... a participatory universe."

- John Archibald Wheeler (1911 - 2008)

“You are not a drop in the ocean.
You are the entire ocean in a drop."

- Rumi (1207 - 1273) 

Different Perspectives

"Question: You mean it's a matter of different perspectives?
Each person has a different reason for being here;
if a person looked at it from the outside, he'd see
us all sitting here and maybe wouldn't know why.
And then...?

Trungpa Rinpoche: I mean we are trying to unify ourselves through confusion.

Question: The more confusion, the more unity?

Trungpa Rinpoche: That’s what tantric people say.

Question: You mean the more confusion there is,
the more difficult it is to stamp a system on reality?

Trungpa Rinpoche: You see, chaos has an order by virtue
of which it isn’t really chaos. But when there’s no chaos,
no confusion, there is luxury, comfort.
Comfort and luxury lead you more into
samsara, creating more luxurious situations
adds further to your collection of chaos.
All these luxurious conclusions come back on
you and you begin to question them,
which leads you to the further understanding
that, after all, this discomfort has order in it."

- The Collected Works of Chögyam Trungpa, Volume 4

Light Prancing

"The artist’s world is limitless.
It can be found anywhere far from
where he lives or a few feet away.
It is always on his doorstep."

- Paul Strand (1890 - 1976)

Postscript. These images were all captured within minutes of each other in a garage near a local farmer's market this past weekend, as I was waiting for my wife to gather our grocery bags to go shopping. I have written before about how mesmerizing the "abstract cacophony" of shimmering reflections off car's hoods and hubcaps are to a photographer's eye 😊 What is hard to express in words (though I'm obviously trying, obliquely), is how joyful these few minutes' worth of prancing back and forth in-between park cars inevitably are to my soul (I look forward to my "light prancing" almost as much as the delicious recipes my wife cooks up with what we gather at the market!) My only regret (as usual) is that all I had with me was an iPhone.

"Light makes photography.
Embrace light.
Admire it.
Love it.
But above all, know light.
Know it for all you are worth,
and you will know
the key to photography."

- George Eastman (1854 - 1932)

Communicating the Joys of Doing Photography - Part 2

“Nothing is ever the same twice because
everything is always gone forever,
and yet each moment has
infinite photographic possibilities.”
- Michael Kenna (1954 - )

A few months ago, I wrote about five of my favorite "Youtuber" photographers whose channels I go back to again and again, and whose notifications of a new video always put a smile on my face as they pop up on my iPhone: Henry Turner, Thomas Heaton, Nigel Danson, Simon Booth, and Gary Gough. In that earlier post, I alluded to other photographers that have caught my eye - and who certainly deserve equal attention - but about whom I had not yet (at the time) written because I had only just recently "discovered" their channels and was still in the process of learning more about them, their styles, approaches, and photography portfolios. Well, having now done precisely that, I unveil an additional trio of preternaturally talented "photography storytellers" (as I referred to those in part 1): Simon Baxter, Adam Gibbs, and Steve O'nions.

All three share the same exemplary core characteristics I ascribed to the photographers highlighted in part 1: (1) they are all magnificent photographers, in the purest sense of the word; i.e., if they did nothing but stare into a camera each week and pull up whatever new images they produced since their last video, their video posts would still be a privilege to view; (2) although their channels are mostly landscape oriented, their artistic sensibilities and repertoires run considerably deeper; and (3) they all have a gift for story telling and for expressing their obvious love of being out in nature and capturing its beauty. Apart from these similarities, of course, each of them also offers a unique - and uniquely insightful - perspective on doing photography:

Simon Baxter lives and works as a professional photographer in North Yorkshire in England, is the winner of the Light on the Land category in Outdoor Photographer of the Year, and was a featured photographer On Landscape Magazine. His particular specialty is woodland photography - indeed, he is arguably the first "woodland photographer" on YouTube! - but to call Simon's gift a "specialty" hardly does justice to the extraordinary art Simon's eye and soul create. I challenge you to look at Simon's portfolio without: (1) having your proverbial jaw drop at some of the finest woodland photographs you'll ever see (yes, they are that good!); and (2) having your proverbial jaw drop a second time after you realize that Simon's images have literally changed how you will now look at "trees" - and at nature, in general, with your camera  - ever again (yes, his images are that good!). Beyond - or better, behind - Simon's superlative photography is his gentle manner and presence, the quiet but articulate cadence of his speech, and the soulful timeless wisdom that he imparts to lucky viewers of his channel. Simon is of a rare breed of photographer who is equally adept at transforming the "ordinary" into something transcendently magical with his eye/camera, as he is at helping aspiring and seasoned photographers alike forge their own path towards "seeing" and "expressing" their own vision.

“To me, photography is an art of observation.
It’s about finding something interesting in an ordinary place…
I’ve found it has little to do with the things you see
and everything to do with the way you see them.”
- Elliott Erwitt (1928 - ) 

Adam Gibbs, a landscape photographer I "discovered" after seeing him featured on one of Simon Baxter's videos, lives and devotes many - though by no means all - of his videos to photo safaris on Vancouver Island, Canada; his YouTube channel contains playlists that include Antarctica, the Canadian Rockies, China, and Scotland (among many other places). Apart from this geographic versatility, what sets Adam apart is his ability to draw the viewer into his "aesthetic thought space." While other photographer/Youtubers have a gift for narrative (starting with any of the other artists on my two "best of" lists), and are able to bring the viewer along on an adventure using both words and images, Adam also unassumingly - and oh, so gracefully - injects the viewer into his inner machinations, sharing his thought processes on how he "sees" a place, how he makes his compositional choices, and/or what post-processing tools he uses (or intends to use) to bring out the full aesthetic potential of a given scene. He is never rushed and is ever-so-deliberate - Zen-like, one might say - in his pacing and approach to setting up a shot. I also much appreciate the "before and after" fashion in which he unveils his images: the viewer is first shown what the unprocessed raw file looks like after the image is captured, followed with a reveal of the cropped-and-edited final image. This simple narrative schema lays bare (but makes no less mysterious) the artistic transmogrification of initial impressions and intent into a completed image. Gibbs is a master craftsman/artist teacher.

“In large measure, becoming an artist
consists of learning to accept yourself,
which makes your work personal,
and in following your own voice,
which makes your work distinctive.”
- David Bayles (1952 - ) and Ted Orland (1941 - )
Art & Fear

Steve O'nions is an amateur (mostly, film) photographer who lives in Wales, where by using the term "amateur" I wish only to convey that Steve does not make his living from photography (though, given the growing number of subscribers to his channel, that may soon change!), and not that his skill set is any less than expected of a "professional" of the highest level; indeed, if judged on his skill set alone, Steve is in a class by himself. I have been voraciously soaking up his YouTube posts ever since I stumbled upon one of his earliest videos about - what else (for photographers)? - Waiting for the Light during an autumn photo safari back in 2016. I was immediately struck (right from the start) by two patterns that have held true for the 50 or so videos that I've enjoyed since: (1) Steve's sparse, knowledgeable, to-the-point narratives and, on occasion, pedagogic demonstrations of technique, are simply a delight to experience (though, like all great masters, he makes things seem easy; to get to Steve's level one needs patience, practice, and a lot of time!), and (2) where most fine-art photographers profess a disdain for focusing on gear rather than the art the gear is designed to help create, Steve takes it to the next level: the gear is both most and least relevant to the contextualized vision he brings to a given shoot. Steve uses (and is equally adept at using) myriad kinds of cameras that range from old 35mm film cameras, to 4-by-5 and 8-by-10 large format, to micro-four-thirds digital cameras (among many others). But he doesn't stop there: is it black and white film or is it color, and what kind of film is it? Is it Hasselblad or Bronica? Yet, throughout all of his saunter-adventures and camera and film comparisons, Steve's focus is always on the image. Other photographers talk about how one must never lose sight of the forest for the trees (literally and figuratively); Steve shows you how this is done. In the best possible sense, Steve is a wonderful throw-back to artists of yesteryear. Give him a camera and some film - just about any camera and any film - and Steve will show you what fine-art photography is all about. (And all this is without even mentioning his unparalleled compositional skills and his wonderfully dry sense of sardonic, often self-deprecating, humor!)

As I said in my closing paragraph the first time around, you do not have to take my word that these three "photographer storytellers" are among the very best at communicating the joys of photography on their YouTube channels; just follow the links and enjoy the journey! The only down-side of watching so many videos of these accomplished photographer/story-tellers/teachers is that it leaves even less time to go out and do photography 😊

Poetic Truth

"To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth."

- Minor White (1908 - 1976)

Postscript. In full disclosure, and unlike the "fabricated" (and eventually retracted Tweet by) physicist Étienne Klein - who playfully claimed that a photograph he took of a slice of chorizo taken against a black background was that of Proxima Centauri, about 4.2 light years away, as captured by the James Webb Space Telescope - the image above is emphatically not a photograph of some spectacular celestial object! It is, in fact, just a Minor-White-like "poetic truth" rendering of ice-on-asphalt, bathed-in-red-light, as "seen" at some point a few months ago during a winter walk during sunset 😊

Structure of Life

"The soul hungers for expression and ceaselessly strives for an understanding of all that comprises the cosmos. The more of beauty in the mind, the more of peace in the spirit. Time is a definite and moving quantity – conserve it! The structure of life we build for ourselves determines the color of our soul. Think more of yourself, realize your duty to yourself, and your duty to those who shall come after you, who shall shape their lives on your influence. Develop the sense of inner beauty and majesty of Nature."

- Ansel Adams (1902 - 1984)
Letters & Images

Graceful Curves

"The study of the pictures of the old masters will show how much they thought of the linear composition, and I hope by some examples of modern photography to show that the value has been appreciated by the producer of them. For the benefit of the tyro I will quote some authorities which go back several centuries. To quote from Hogarth: 'Curved lines are the most beautiful. Nature displays herself in curves; even the straight pine trunk only acts as a foil to the graceful curves of the branches. Therefore, curves should predominate in a picture and where a straight line is introduced it should only be used as a foil to accent the beauty of the curve.'"

- G. Hanmer Croughton (1843 - 1920)
Abel's Photographic Weekly, Volume 20

Another World

"We tend to think of landscapes as affecting us most strongly when we are in them or on them, when they offer us the primary sensations of touch and sight. But there are also the landscapes we bear with us in absentia, those places that live on in memory long after they have withdrawn in actuality, and such places -- retreated to most often when we are most remote from them -- are among the most important landscapes we possess.

...

We lack - we need - a term for those places where one experiences a 'transition' from a known landscape... into 'another world': somewhere we feel and think significantly differently. They exist even in familiar landscapes: there when you cross a certain watershed, recline or snowline, or enter rain, storm or mist. Such moments are rites of passage that reconfigure local geographics, leaving known places outlandish or quickened, revealing continents within counties.

...

Landscape... can 'enlarge the imagined range for self to move in."

- Robert Macfarlane (1976 - )
The Old Ways: A Journey on Foot

Things Are What They Are

"Please remember: things are not what they seem."

- Haruki Murakami (1949 - )

"Things are not as they seem.
They are what they are."

- Terry Pratchett (1948 - 2015) 

"But one needs to bear in mind
that things are not always what they seem and,
contrary to the dead stillness of a photograph,
reality is in a state of perpetual flux."

- Audur Ava Olafsdottir (1958 - )  

Atoms with Consciousness

"I stand at the seashore, alone, and start to think.
There are the rushing waves…
mountains of molecules, each stupidly
minding its own business… trillions apart…
yet forming white surf in unison.

Ages on ages…
before any eyes could see…
year after year…
thunderously pounding the shore as now.
For whom, for what?…
on a dead planet,
with no life to entertain.

Never at rest…
tortured by energy…
wasted prodigiously by the sun…
poured into space.
A mite makes the sea roar.

Deep in the sea, all molecules
 repeat the patterns of one another
 till complex new ones are formed.
They make others like themselves…
and a new dance starts.

Growing in size and complexity… living things,
masses of atoms, DNA, protein… dancing
a pattern ever more intricate.

Out of the cradle onto the dry land…
here it is standing…
atoms with consciousness…
matter with curiosity.

Stands at the sea…
wonders at wondering…
...I…
a universe of atoms…
an atom in the universe."

- Richard Feynman (1918 - 1988)
Untitled Ode to the Wonder of Life,
Quoted by Maria Popova (1984 - ), The Marginalian

Vedantic Complementarity

"The very nature of the quantum theory ... forces us to regard the space-time coordination and the claim of causality, the union of which characterizes the classical theories, as complementary but exclusive features of the description, symbolizing the idealization of observation and description, respectively."

- Niels Bohr (1885 - 1962)

"The general opinion in theoretical physics had accepted the idea that the principle of continuity ("natura non facit saltus"), prevailing in the microscopic world, is merely simulated by an averaging process in a world which in truth is discontinuous by its very nature. This simulation is such that a man generally perceives the sum of many billions of elementary processes simultaneously, so that the leveling law of large numbers completely obscures the real nature of the individual processes."

- John von Neumann (1903 - 1957)
Mathematical Foundations of Quantum Mechanics

"The plurality that we perceive is only an appearance; it is not real. Vedantic philosophy... has sought to clarify it by a number of analogies, one of the most attractive being the many-faceted crystal which, while showing hundreds of little pictures of what is in reality a single existent object, does not really multiply that object."

- Erwin Schrödinger (1887 - 1961)