The Skies of Skye and Orkney

As difficult a task as it is to point to a single distinguishing feature of Scotland that stands out in my photographic eye - for so much of Scotland simply transcends an aesthetic breakdown of any kind; Scotland's beauty must be experienced and cannot be verbalized (nor, perhaps, even be photographed in a way that captures its deepest secrets) - I will start my musings on the recent trip my wife and I took to Scotland by recalling the magnificent skies of Skye and Orkney.

"The great plain of Caithness opens before our eyes. This is the northland, the land of exquisite light. Lochs and earth and sea pass away to a remote horizon where a suave line of pastel foothills cannot be anything but cloud. Here the actual picture is like a picture in a supernatural mind and comes upon the human eye with the surprise that delights and transcends memory. Gradually the stillness of the far prospect grows unearthly. Light is silence. And nothing listens where all is of eternity." - Neil Gunn, Highland River (1937)

My previous benchmark for varied dramatic skies was Hawaii, where the weather changes on a dime and the interested observer / photographer can find dozens of different "skies" in any given hour on any part of the islands. But Scotland's skies leave their Hawaiian cousins far in their wake. I have never before seen such dynamic, textured, layered, epic-scale Wagnerian colossī as the "seas of clouds" on Skye and Orkney.

The drama was often so great, and the magic light so fast moving and changing, that all I could do to keep up was to simply click away, mechanically, unable to take in all of the spectacle unfolding before me, behind me, all around me. Once, on our first day on Orkey, even before we arrived at our hotel in Kirkwell after arriving by ferry at Stromness, a spectacular sunset begged us to pull over to the side of the road, and as I was setting up my tripod to catch a sunset, a fantastic - phantasmagorical! - rainbow appeared to the east; as my attention was diverted, my wife screamed that another rainbow was forming to the south! There we both stood, slack-jawed, swaying gently in the Orkney wind, in awe of nature's beauty at its finest. I had even momentarily "forgotten" to do anything with my camera; as my conscious and unconscious minds fused into one and my attention was focused solely on the experience. Such deep ego-disappearing total immersion in the moment, as we soon learned, is the norm for being in Scotland. (It is thus easy to understand the origin of some folk tales, such as the one about Herla - the "wise King of the Britons in ancient times" - who once visited an underworld realm, where he was lavishly entertained with song and dance. But upon returning to his own world, King Herla discovered that centuries had passed!)

"From the high summit watch the dawn come up behind the Orkneys, see the mountain ranges of Sutherland the grey planetary light that reveals the earth as a ball turning slowly in the immense chasm of space, turn again to the plain of Caithness that land of exquisite light and be held by myriad lochs and dubh lochs glimmering blood red." - Neil Gunn, Highland River (1937)

As dramatic as the skies of Orkey are, Skye brings an added dimension (or two or three) to the landscape, literally. For as relatively flat as Orkey is (though it has its fair share of rolling hills and cliffs!) and is devoid of vegetation, the many rolling mountains and jagged peaks of Skye make it a veritable mini-Himalaya, along with its enormous array of beautiful lowland flowers.

I soon noticed a distinct change in my compositions. Where, in Orkney, my eye tended to mostly ignore foreground detail (for, in truth, there was little to be had except an occasional but uninteresting rock or twig) and focus on clouds and sky with a bit of a horizon, in Skye, my camera was taking in the full view from my feet to as far away as my lens could take me! Moreover, because of the lovely colors, I also found myself - very uncharacteristically - thinking and previsualizing in color! I thought back to last year's trip to Santorini, Greece, where I had a related (but very different) experience with "color versus B&W" visualization. In Santorini's case, however, my thoughts on the matter crystalized after I had returned home and was viewing my images in Lightroom. This time, in Skye, the utterly un-ignorable effervescent colors compelled me to adapt my photography from B&W to color on the spot! While this may not sound like a "big deal" to most readers, I can assure you that for one, such as myself, who is almost exclusively a B&W photographer and therefore tends strongly to view the world in B&W, the shift was very dramatic (and, in hindsight, very enjoyable). Perhaps I can use this experience as a stepping stone / learning experience to widen my photographic horizons a bit.

"My heart's in the Highlands, my heart is not here,
My heart's in the Highlands, a-chasing the deer;
A-chasing the wild deer, and following the roe,
My heart's in the Highlands, wherever I go."
- Robert Burns, My Heart's in the Highlands

The Preturnaturally Sublime Beauty of Scotland

The recent paucity of blog entries may be explained (at least in part) by the fact that my wife and I have been traveling all over Scotland; Edinburgh, Inverness, Loch Ness, Orkney, and Skye to be precise. We have just returned from our trip, after logging a bit over 1100 miles by car.

It was a magnificent trip, overflowing with memorable experiences and spectacular landscapes. Having brought back the equivalent of 40GB+ of raw files (my Hyperdrive was indispensable!), I look forward to the many digital darkroom days/nights it will take to process them all. As individual images warrant, and as I recall the stories surrounding them, I'll be posting some musings in the weeks ahead.

From a bird's eye view - as a whole, in Gestalt form - Scotland is a sublime, preternatural wonder of equal measures drama and serenity; it pulses with a quiet soulful elegance and beauty all its own. From its tranquil green pastures (punctuatued by the "baah-baahs" of its sheep and "moooooos" of its Highland cows), to its rugged coastlines, to its majestic Wagnarian-like skies and clouds, to the magnificent wind-swept jagged peeks of the mountains on the isle of Skye, to its many Castles and pre-historical sites (such as Maeshowe and Ring of Brodgar, both dating back to before 2500BC), Scotland is a land of almost infinitely diverse terrains and vistas. Its people are warm and friendly, its delicious food is as memorable, in its own way, as are its landscapes (though my wife enjoyed Haggis far more than I), and its single malt whiskys are second to none (our personal favorites on this trip were Highland Park and Glenmorangie)!

The one nasty part of our trip was driving in Edingurgh (1) without a GPS and (2) while the Fringe festival is going on. It is difficult enough for two people accustomed to driving on the right side of the road (in the US) to switch to left-side driving in Scotland (though this part was easy to adapt to), but when faced with street closures and "Diverted Traffic" signs (seemingly posted every other street), navigating Edinburgh proved almost impossible. That we did so the first time around while also sleep-deprived after overcoming what amounted to a 36 hour multi-leg plane trip that finally got us over to Scotland, borders on the unreal; certainly that is how my wife and I both remember it;-) Our experience has thus led to a new sacrosanct Ilachinski "trip rule": never, ever - ever! - drive a car in a major foreign city without a GPS and before getting at least one good night's rest. (Sacrosanct trip "sub rule": if the major foreign city has a festival going on, don't drive under any conditions!).

On the Art of Observing Gallery Viewers Observing Art

The NY Times recently published a fascinating article on the subject "how people engage art" in art galleries. As one might expect, there are a variety of "approaches" people take to viewing art. Some walk around slowly, savoring each artistic morsel on a wall. Some walk through the gallery quickly, hardly glancing at much of anything save for the watch on their wrist (in hopes of escaping, perhaps). Some bring their sketchbooks, look around a bit, then find a spot to rest for a while and try to "take away" a bit of what they've seen (or are looking at). Some come in groups, that congeal and disperse in rhythms, punctuated by periodic outbursts of comments and discussion, as they weave their way through the displays.

The article reminded me of my own experiences of watching "people passing through a gallery" while I was still a member of the Lorton Arts Workhouse Photographic Society (WPS). Part of my Co-op duties included gallery-sitting, for which I had to come in to open the gallery, greet guests, photography admirers and/or potential customers, answer questions, conduct sales, and so on. In truth, apart from the motivation to "do more photography" while I was part of the Co-op, my most enjoyable experience was in greeting and schmoozing with passerbys and interested observers. As I write this blog entry, two months or so removed from my last such sitting, I must admit to missing the opportunity to experience this on a regular basis.

For context, the WPS gallery (Gallery W-6 at Lorton Arts), contains about 120-130 prints at any one time, (new hangings occur at roughly 8 to 9 week intervals) and the main gallery is about 100 feet by 20 feet in size (there is a smaller space for pictures at the front entrance, that contains an additional 15 or so prints). Here are some of my miscellaneous observations about how "people wander through the gallery," culled from nine months worth of informal record keeping:

(1) People are generally quiet - very quiet, as though they are in a library - as they walk through the gallery. In many cases, even if I attempt to initiate a conversation in a regular tone of voice, the response is muted, hardly above a whisper.

(2) The average "walk through" time (of people who choose not to interact with me after my greeting them; this class makes up only about a quarter of the people who enter the gallery) is about 3 minutes, plus/minus a minute or so. It's pretty fast. A short look is all that most prints get, even as the people are moving on to the next picture. Another interesting statistic: about half the people entering the gallery choose to look at only about half of the pictures; they leave before completing a full circuit around the gallery! (Personally - speaking as both photographer and gallery viewer - I also tend to move quickly through a gallery, giving most pictures about 10 secs worth of attention. However, I have rarely been to any gallery, of any kind, in which at least a few images/paintings did not grab my attention and hold it for long stretches. Indeed, it is the anticipation and possibility of encountering such "grab your eye/I/mind/soul" art that brings me to galleries in the first place.) Note: thoughtful readers who may be musing about the role that "thin-slicing" (= rapid cognition) may play in art viewing will find interesting reading in Malcom Gladwell's Blink.

(3) About half the people who enter the gallery are happy to reciprocate in an exchange of pleasantries and otherwise ask questions about the art and engage my presence in the gallery. Indeed, for this class of gallery observer, the interaction with me only seems to spur their own interest in the art, for they spend, on average, at least two to three times the length of time simply "viewing the art" than does class one (as defined above). (Of course, this may simply be a correlation between the type of person who is both more interesting in photography and, simultaneously, more predisposed to engaging others in some verbal exchange.)

(4) A small minority (about 5-10%) appear interested only in the fact that there is a human being in the gallery with whom they can speak about photography, rather than the photographs themselves. This class of observer enters the gallery, looks around not for the prints on the wall, but for the gallery-sitter, makes a bee-line toward that person, and is the one to initiate contact. Also, about half the time, the ensuing conversation is more about their art, rather than the prints they have yet to see in the gallery they've just entered.

(5) 10-15% of the people passing through are also photographers. Sometimes they are identified by the cameras strapped to their neck; sometimes it is revealed through conversation. However, in almost all such cases, the affect is one of humility on their part. And often, from my point of view, in a quite unjustified manner, for many turn out to be accomplished photographers. Strangely, this fact is more often than not revealed only after some gentle coaxing (by the gallery sitter/gallery-photographer); most (even those that are obviously carrying a camera!) are reluctant to reveal their talents. My impression is that by virtue of being inside of a gallery alone, and by being in the presence of a "photographer" whose works are on the wall, somehow their own abilities, skills and accomplishments are lessened or outright unimportant. It is truly a strange phenomenon, but perhaps not all that surprising, psychologically. Objectively speaking, there is no deeper meaning to, say, having my pictures hanging on the wall in the room they are in than the objective fact that my pictures happen to be there. It is not, in any way, a statement about or reference to the photographic skill possessed by the humble gallery observer. As I write this entry, I am no longer a member of the WPS, and therefore have no pictures on their gallery walls. I'd certainly like to believe that my photographic skills, such as they are, have not diminished. (Though I secretly wonder, too, whether I'd be a wee-bit more reluctant to "reveal" my photography side were I to enter some new gallery?)

(6) 10-15% of the people wandering through the gallery take their time, seemingly with every picture. I cannot over-state how this makes the gallery-sitter's heart soar, because - speaking as one - I could palpably feel in their manner a genuine interest in what was displayed on the walls. This class of observer takes a sincere delight in each and every artist, taking the time to read our bios, the titles of the works, and slowly - sometimes with hands clasped behind their backs - relishing the images near and far, craning their necks for a closeup, and stepping back to admire a print from a different perspective. Somewhat surprisingly, only about half of the people in this group overlap with the class that loves to chat.

(7) I just mentioned that the WPS has short "Bios" up on the wall next to each artist's exhibit. However, we did this only many months after opening, and initially had nothing but titles by the individual works, without so much as a marker informing the viewer that "this wall" has photographer X's works, and "that wall" has works by photographer Y. The week after we put up the bios, interest in particular photographers' works (depending on the predilections of the viewer of course) and likelihood of engaging the gallery-sitter sky-rocketed. Intuitively, it makes sense that if a viewer can learn something of interest about a given artist - - and even more so if he or she learns something of interest about an artist who happens to be the gallery-sitter that day - that the viewer is that much more inclined to react to that artist's body of work and also enagage the photographer/gallery-sitter in conversation. (Before the bios went up, I was amused by how often I'd be asked, incredulously, "Are all of these works yours?")

(8) Most people are not attracted to, and do not resonate (on any discernible level) with abstract photography. Please keep in mind that is a strictly personal observation, and in reference to how I observed people "react to my own work" (which is frequently deep into the abtstract dimension). It is not a statement about aesthetics, or what is "good" or "bad" in photography. I state it purely as a matter of "fact" that I've consistently observed over the run of my nine-month membership in the WPS. (FYI: Brooks Jensen, co-editor of Lenswork magazine, has an interesting podcast on this subject.) On many more occasions than I am willing to admit (though, implicitly, I'm doing so here;-), particularly when - by chance - my own pictures were hanging near where the gallery-sitting desk and chair are stationed, I would see a prospective buyer approach one of my abstracts, muttering (though loud enough for me to hear): "Whoa, what in the world...?" (followed by what I could have mistaken for either a look of horror or disgust or both, as he or she or they quickly made their way to someone else's picture of something more recognizably "real looking"). Note: readers interested in abstract photography are urged to look out for a wonderful new book on the history of abstract photography called The Edge of Vision (by Lyle Rexer).

(9) A very small minority (maybe a handful of people over the entire nine-month period I'm summarizing) were - ahem - less than gracious and humble. With an obvious chip on their shoulder, they would march toward the gallery-sitter desk, announce their arrival (at least by their manner, the loud clop-clop of their shoes banging the floor, and their wide-open staring eyes, seemingly daring anyone in their path to a fight), and proceed to "explain" to the gallery-sitter (i.e., me) that while some of the photographs here are interesting (though they barely even glanced at any of them), it is really their art that belongs here instead of the photographers' who were juried into the WPS. On a positive note, once I politely explained that they too can easily become members of the WPS, provided they assemble a portfolio, and submits prints, a vitae and an artists statement - and are selected by the admissions jury - they all turned on their heels and stormed out the gallery.

(10) There is one final class of gallery viewer whose membership totals exactly one person (at least during my time as gallery sitter): the person who is herself an artist and who deliberately seeks out a particular photographer in hopes of engaging in an aesthetic dialectic. I was introduced to this class during WPS' 08/09-holiday open house and small works show. I saw a woman, about my age, enter the gallery, take a quick look around, and then immediately head for the wall that had my pictures hanging. Naturally curious (as this seldom happens to my pictures), I quietly approached her and introduced myself. She was shy, but smiled, and started asking a few questions about my photos. I started giving my (by now practiced) general overview, but soon realized there was increasing depth to her questions; none were of the basic "So, what is this supposed to be?" variety. She mentioned how some of the images were very Tao-like, and my approach reminded her of some Chinese landscapes (and mentioned a few artists' names I have forgotten). As we talked, it became increasingly irrelevant as to who was "viewing" and who was "the photographer." She eventually confessed that she too was an artist (and teacher) at Lorton, specializing in Chinese art. She explained that she had seen some of my smaller works, that were at that time hanging in the main gallery (Gallery W-16 at Lorton Arts), and heard about our open house; she came specifically to meet the photographer behind the pictures she liked so much. Shoot forward a few weeks, after I had a chance to visit my new friend at her own studio (and admire her art), and we were both rewarded with new art for our walls: she, with an image of mine she so admired at the photography show; I with an exquisite little Zen Frog that adorns my "day job" office and who has himself become an inseparable part of me. A beautiful example of art meeting art, and art sharing of itself to inspire more art.

Postscript #1: My dad, a lifelong artist who lived art 25 hours out of every 24 (incredible, but somehow true!), carved out a niche all his own as a gallery-viewer. His approach was simple, direct, and pure: gallery day was gallery day, meaning that the entire day would be spent viewing art, in a preternaturally transcendent state that rendered him utterly oblivious to everything around him. My mom and I both saw first hand how my dad would arrive at a gallery - any gallery - reposition his glasses slightly as he entered (his traditional "I'm now in a gallery" maneuver), clasp both hands behind his back (where they would unmovingly remain throughout the tortuously long day), walk up to the nearest exhibit, and look, and look, and look...and there he would remain - at that first exhibit! - for hours at a time! Eventually he would move, but only a few feet either to the left or right of whatever he was just viewing, and only to plant himself in front at an adjacent painting. (It was not unheard of for him to suddenly remember something he had forgot to "look for" at the last painting, and - frantically, as though this oversight would somehow deprive him of a morsel of divine truth - side-step his way back to the previous exhibit.) At times, my dad would stand motionless in front of an artwork for so long, that gallery visitors could easily be forgiven for mistaking him for a newly scultpured artwork on display! By the end of a typical day, in a gallery with ten rooms adorned with, say, 300 pieces of artwork, my dad would still be looking (meditating, absorbing, reflecting, musing, comparing, composing, digesting, pondering, philosophizing, ...) at maybe the 7th or 8th picture in the first room. And at the end of a typical gallery day, as the guards began begging us to leave, my dad would invariably turn to my mom with his own soulful plea: "Katie, please, please, can we come back tomorrow?" (Never did I see anyone remotely resembling this unique class of "gallery viewer" in all my days of gallery sitting at the WPS.)

Postscript #2: All of the images of "gallery viewers viewing art" are from one of my dad's last exhibits before he died, held at Adelphi University (Garden City, Long Island, NY) in June 2000. The viewers are looking at some of his amazing abstracts. The image directly above Postscript #1 is of my dad at his Adelphi exhibit.

Postscript #3: The artist with whom I exchanged some artwork (and whose "Zen Frog" is my faithful office companion) is Hsi-Mei Yates, and she specializes in Chinese watercolor brush painting. Her work is exquisite.

Swirls, Whorls, and Tendrils

Although I am a physicist by day—or, perhaps, because I am a physicist (and thus want the left part of my brain to rest when I'm with my camera)—I have rarely come upon a subject that seamlessly combines my love of physics and passion for photography. Until now that is. Maybe it is my penchant for abstraction that led to this subject, and the connection to physics is more of an afterthought. Or maybe my physics “eye” unconsciously led me to take on this aesthetically surreal but very “real” physical subject, in hopes of stirring my conscious attention (and relentless equation scribbling). Whatever the case, my recent focus on “ink drop in water abstracts” has consumed both sides of my brain, and is—even as I write this blog entry—unlikely to release either side any time soon. A small—exploratory—gallery of images is here.

Ink diffusion, in turns out, is anything but simple; either photographically or mathematically (for an example of the latter, see, for example, this paper on ink diffusion in Chinese ink paintings). On the photographic side, many photographers—amateur, pro, unknown, famous, living and long forgotten—have doubtless focused their lens’ on “ink & water” countless times, perhaps stretching all the way back to Fox Talbot. I have no illusions of having discovered a new “frontier” (as Bruce Barnbaum did with his magnificent shots of Slit Canyon). But even a familiar subject can sometimes offer unexpected surprises. My own humble addition to photography's collective oeuvre of subject matter is more akin to Hilla and Bernd Becher's typology of watertowers and other industrial structures. Only in my case, it is a typology of the dispersive structures of a single ink drop in water.

The technique is straightforward, but requires a bit of practice and patience. A small 3”-by-3” glass vase is filled with about ¾” of water (less than that, or more, yields a set of slightly “different” patterns from those appearing here) and placed on a light table (which provides the only source of light). A macro lens (in this case, a 100mm lens capable of 1:1 magnification) is mounted on a camera (Canon's 30D DSLR), and is positioned so that the lens is pointing vertically downward on the surface of the water. A small eyedropper is filled with India ink, is carefully centered between three and six inches above the water (as with water depth, a greater or lesser height yields a slightly different set of patterns), and a single drop—this is the "hard" part that requires a bit of patience—is slowly released.

As the ink strikes the water, about a third of its volume quickly spreads radially on the surface. The remaining blob sinks to the bottom. Some of it bounces back up, and a slow process of diffusion, dispersion, and rotation begins. The resulting 3D patterns are captured (and compressed into two dimensions via the lens) as they unfold, and are processed and displayed as digital negatives. A single drop’s effective "unfolding lifetime" varies between 1-1/2 and 2-1/2 minutes. It is not a real lifetime, of course, since the ink continues to diffuse until it is thoroughly mixed with the water, but denotes a period after which most of the "interesting" patterns—the swirls, whorls, and tendrils—have all but dissipated, and no new internal structures appear. The images in this portfolio show the structure of the radial spread of a single drop of ink in water as it appears at a single time (to within ~ 1/60th sec) near the tail end of its unfolding lifetime.

Each ephemeral form is unique, surreal, and exquisitely beautiful. Since these are lifesize macros, many of the fine details are literally invisible to the naked eye. The macro lens reveals what looks like "organic" life-forms, that develop as though some hidden “rule” (or genetic code) is guiding their evolution. In truth, the myriad shapes and forms are a complicated confluence of multiple simultaneous forces at work: diffusion, dispersion, interplay of relative viscosities of the water and ink, a transfer of momentum as the ink drop bounces upward after hitting the bottom of the vase, gravity, random drifts and impurities in the water, and thermal convection rolls due to the heat generated by the bulbs in the light table.

Tellingly, even as each delicate form is “perfect” onto itself, what starts the whole process going, and what is most responsible for the diversity of patterns, is imperfection. It is because the ink drops are not perfect spheres, because they assume a variety of randomly distorted oblong shapes as they fall, and because they have unpredictable and shifting densities of ink inside of them, that each sequence is a unique creation that unfolds just once, then vanishes forever.

"All is process.
That is to say, there is ‘no thing’ in the universe.

Things, objects, entities, are abstractions
of what is relatively constant from a process of
movement and transformation.
They are like the shapes that
children like to see in clouds."
— DAVID BOHM, Physicist (1917-1992)

Postscript/FYI. Apart from the fact that it nicely describes the subject of my new series, the title for this portfolio - "Swirls, Whorls, and Tendrils" - derives, in part, from the first (and, so far as I can remember, the only time) I have ever seen the word "whorl" used seriously in print anywhere. I remember seeing this term in a paper co-authored by one of my mathematical physics professors in graduate school (N.L. Balazs), back in the late 70s; though on a topic that doesn't have anything to do (at least explicitly;-) with ink drops in water: Quantum Maps.

Matted & Framed Prints for Sale!

Although I have not written about it much on my blog, I have for the past nine months or so been a part of a new art cooperative in northern Virginia called the Lorton Arts Foundation (LAF). In particular, I was one of 14 inaugural juried members of LAF's Workhouse Photography Society (WPS). This group contains many fine and distinguished artists, with a wide diversity of backgrounds and styles. All are exceptionally talented photographers, and I am very honored to have had an opportunity to hang my work alongside theirs. Regrettably, however, because of other projects and time commitments, I have had to resign my WPS membership, effective at the end of June.

While I have other venues and options open to me to hang - and hopefully sell - my work, some friends recommended I try probing my blog readers' interest in acquiring some ready-to-hang fine-art photos. So, here is a first such offering.

The prints for sale are all (slightly warmly duotoned) digital prints - using Epson's archival pigment-based ink. I use Epson's 2400 printer and print on Epson's acid-free Ultrasmooth Fine-Art Paper (to assure colorfastness and longevity). All prints are roughly 17 inches long on the longest side, and are displayed using either an off-white (print 1 and 2) or light-gray (prints 3 and 4) matte-board fit into an 18" - by - 24" black metal frame. The prints are signed on the lower right of each print, sans "edition number" as I do not follow that practice (perhaps I'll post a blog entry on my thought process here).

The price of each matted/framed print is $240.00 + $15.95 for packing and shipping. Since this is an "experiment" (to see if there is sufficient on-line interest), payment is via check, to be made out to "Ilachinski Studios, Inc." All matted/framed prints are offered on a first-come-first-served basis, and will be shipped within five working days of my receiving a check (if impossible for whatever reason, I will inform the buyer via email of any delay). I will not cash any check until the buyer has confirmed receiving the print and has indicated complete satisfaction. If that is not the case, I ask that the matted/framed print please be returned (though here at the prospective buyer's expense; keeping the original shipping container will obviously save on return cost here), and I will destroy the uncashed check upon arrival (or send it back to the buyer, if he or she so chooses).

If interest is strong, I will periodically offer a few of my prints in this way, if only because it provides me an opportunity to expand a bit on my blog on how the images came to be. As is true of most photographers, each of my photos has a "story" to tell, beyond that of what they depict as merely physical objects.

So, without further adu, here are the first four prints I am offering for on-line sale (if interested in purchasing one or more of these prints, please email me at ilachinski.studios@gmail.com):

1. Luminous Boundary

I have discussed this image recently in the context of the unconscious influence other artrists have on our own work. In this case, the image is an "unconscious" homage to a similar work by British photographer Fay Godwin. Although I was not thinking of Godwin, nor any other photographer (so far as I am aware), during the time I captured this image a few yeas ago at tropical park in Coral Gables, Florida, her characteristically soulful approach to her subject matter has certainly impressed itself on me in the years of studying her work. This is one of my favorite images from the last five years or so, and seems to always grab people's attention when they pass it hanging on a wall.

2. Tonal Rhythms

This image was captured on the same day as "Luminous Boundary." It is another of my favorites because it captures (and shows) "light" as much as form. Though it is hard to see in a web-sized picture, the print has a wonderfully subtle "glow," as if shining with an inner light; and has a beautiful organic texture that would look nice on (some otherwise drab painted) wall

3. Micro Worlds

This is an image from my "Micro Worlds" portfolio, which was published in Lenswork last year (Issue #76, May/June 2008; 16 images appeared in the print edition, 75 images + audio interview on the Extended DVD edition -(I also have a self-published book that contains many more images from the same series). It is a macro of a small thumbnail-sized portion of an acrylic candle holder. Apart from its aesthetic appeal, I like this image because it serves as powerful reminder that beauty truly lives everywhere, even in the seemingly "unlikeliest" of places. This print is matted on a light-gray matte board.

4. Mystic Flame


This is one of my favorite abstract images from last year. It is from my Mystic Flame portfolio, about which I wrote a blog entry. (I also have a self-published book that contains many more images.) While it may look like smoke, it is actually a reverse/negative image of a flame; and a relatively small one at that. The actual flame-size was between two and three inches. This print, like the Micro Worlds above, is matted on a light-gray matte board.

A Fine-Art Photographer's Must-Have New Book on B&W Printing!

George Dewolfe - photographer, teacher, workshop instructor and author - has just published one of the best books I have run across in a long, long time on the art and craft of fine-art B&W printing; called, naturally enough, B&W Printing.

Generally speaking, there are three basic types of digital-photography-related books on the market: (1) the beginner's guides, that walk the aspiring photographer / "camera user" through the steps necessary to take a picture, how to operate her camera, and how to download images to the computer and print them out on a small ink-jet printer; (2) the intermediate guides, that assume readers are already familiar with their camera but want to learn more about how to process their images for the web or prints; and are tailored to readers who are serious about their photography (certainly more so than casual "point and shooters," but do not invest more than a few hours on a weekend, say, or as "designated photographers" at family get-togethers and vacations; and (3) the advanced guides for affirmed afficionados of photography (who want to learn all of what Adobe's Photoshop has to offer, for example) and professional photographers (who may want to learn additional techniques or, if they are film-photographers, want to boot-strap themselves into digital photography). Each type of book is well represented on the market, of course, and there are many excellent books - classics even (the "advanced guides" by Martin Evening, Katrin Easemann, and Scott Kelby all come to mind).

But, thus far at least, the digital photography world has lacked a particular kind of voice that film photography has enjoyed for decades, simply because film photography has been around for so long. Namely, the voice of a seasoned fine-art photographer / printer writing about and dispensing with his years of experience as a photographer applied to the new, emerging digital imaging technologies. How many times have I picked up a book with a titles like, "Advanced Fine-Art Digital Imaging" by so and so, intrigued by the title and number of pages/examples, only to be disappointed to find either that the images in the book are at best serviceable as "fine art photographs" or, at worst, dismal examples of what "fine art" ought to be, or that the images are wonderful - perhaps even gallery-like in their presence - but that what I had hoped to learn by way of "digital craft" is nowhere to be seen, since the author is a fine photographer but less-than-gifted writer or Photoshop technician. The rarest kind of book of all is a book on fine-art photography - particularly black and white fine-art photography - that combines great pictures, great technical skill, and great writing. I have seen no finer example of this rare breed of book than B&W Printing, by George Dewolfe, published this month by Lark Books as part of their Digital Masters series.

As one can glean from his website, Mr. Dewolfe has been a photographer since 1964 and holds an MFA in Photography from the Rochester Institute of Technology. He studied photography with both Ansel Adams and Minor White in the 1970s. He also studied perception with Dr. Richard Zakia (a fact I mention because Dr. Zakia's book, Perception and Imaging, is among my all-time favorite books on the subject). Mr. Dewolfe has taught photography at several universities (and continues to teach photography and master print classes), and conducts workshops throughout the country. His works have appeared in numerous one-man shows and galleries. He was part of the development team behind Adobe's Lightroom software. He also authored one of the first (and best) "advanced" books on the craft of digital printing I purchased for my personal library (and still frequently refer to): George DeWolfe's Digital Fine Print Workshop.

And so we get to Mr. Dewolfe's new book, B&W Printing. What immediately sets it apart from 95% of related books on the market is immediately apparent after even a quick perusal of its 200+ pages: its subtle, almost understated, elegance. It oozes with quality, and attention to detail.

The images - all examples of one technique or another (except for a small portfolio toward the end that exhibits some wonderful "final" prints) - are each carefully arranged to highlight a specific approach, and are all expertly crafted and presented. Indeed, I suspect many a reader will look at the first such example that a chapter starts with - an out-of-camera image that Mr. Dewolfe displays to show the "before" part of a specific workflow, and wonder, "What can one possibly do to improve such a beautiful image?" ("Beautiful" both as a technically brilliant print, and as a fine-art photograph). The answer to which, of course, after reading Mr. Dewolfe's elegant prose - full of finely honed and expertly distilled advice on why something needs to be done, when and how to do it, and how to tell when its "done" - is "quite a bit." As the "final" image is revealed at the end of most chapters, the reader marvels both at its innate, shear beauty - Mr. Dewolfe's images all have a preternatural "glow" to them; they are carefully crafted in such a way that their ostensibly two-dimensional forms leak into a third "magical" dimension - and the relatively "simple" steps by which the original image was converted into it. Of course, it is precisely Mr. Dewolfe's gifted ability to describe what goes into these "relatively simple" steps - done in such a way that even a novice Photoshop user (albeit one who is well versed with the basic of aesthetics and photographic "seeing") can easily follow them and apply them to her own workflow - that sets this apart from most others and elevates it to the level of an instant classic.

The book consists of three main sections, and a portfolio at the end. A glossary and index are also provided. The first section discusses fine-art black and white photography in broad - but philosophically deep - terms. Great attention is given to the nature of "seeing" (by both camera and photographer), and the most important qualities that make up a photograph (tone, luminosity, luminance, sharpness, and so on). Though this may sound like so many other dry incantations of "obvious" material, perhaps done to death in other volumes, even here, in only the introductory parts of the book, Mr. Dewolfe provides something special. Using the way in which humans process visual information, Mr. Dewolfe astutely distinguishes between "luminance" (a combination of reflection and illumination, and which is essentially what both camera and retina "see" in any image) and "luminosity" (which is what we, as observers, "see" - or the way in which we interpret - luminance. It is the apparent luminosity of an image that gives the images its strength, its character, and ultimately, if the image is to express the artist's vision, its meaning. The best photographers are those that are able to expertly manipulate the raw luminance of their images into something that communicates how they "see" (and feel about) the world. This is a deep discussion of fundamental truths of the art of photography; but is not overbearing in any way; the typical reader will probably not even recognize that she has been treated to a master discussion of the very core of what defines fine-art photography. Needless to say, few if any books provide half the wisdom waiting to be plumbed in the first 60 pages of this magnificent book.

The heart of the book lies in the second section, and spans about 130 pages. Here you will read about designing a workflow, how to choose and setup your software, how to input your images (the author uses Adobe's Lightroom), how to make global and local adjustments to an image, how to fine-tune an image, and, finally, how to make the best use of your printing tools and methods. Each example is meticulously and lovingly presented, with each step described in both words and illustrated with screenshots (of workflow) and the effects interim steps have on a particular image. As a bonus, each chapter also includes sample workflows by featured artists (some of whose work I knew about before, but others were new to me and compel me to look up their work).

The third section contains some musings on the nature of photography, how to hone your skills as a photographer, and the art of mindfulness in art in general. The small, self-contained section on mindfulness perfectly illustrates Mr. Dwewolfe's best gifts as a teacher. In what amounts to no more than a page, Mr. Dewolfe provides - in sparse but artful, Haiku-like prose - a natural gateway toward applying meditation techniques to creating meaningful photographs; punctuated, in the end, by yet another beautiful, luminous image.

Mr. DeWolfe begins his book with the question, "What is a masterpiece?" By the end of the book, the reader will have seen a fair share of masterpieces created and crafted by Mr. Dewolfe's refined eye and skill. And the reader will leave the book behind (though no-doubt leaving it within easy reach to refer back to when necessary) knowing that she is now prepared to craft masterpieces of her own. Mr. Dewolfe has written a truly sensational book on the art of B&W printing, and one that is destined to become a classic in its class.

The only mild criticism I can make with regard to the book - though not of the material that appears in it per se - is that Mr. Dewolfe does not provide a discount code for readers of his book to use to purchase his PercepTool plug-in for Photoshop (which is an integral part of the workflow described in the book, and encapsulates much of what Mr. Dewolfe has learned during a lifetime of "seeing" as a photographer and as a student of human perception). I have seen other authors provide discounts for software in their books, but for software nowhere near as rich and far-reaching as PercepTool. I would encourage Mr. Dewolfe to do the same. But I make this criticism only in hopes of getting Mr. Dewolfe to reach an even larger audience with his teachings. Perhaps in the second edition?

Lionel Dobie's Artistic Admonition

"Why do photography?" Or, more generally, "Why do art?" This seemingly "obvious" question is anything but obvious; it is also infinitely far from "simple." Indeed, I would hope that most artists never consciously ask it (of themselves); and never use words alone if forced to answer it by others. For (quickly jumping to the conclusion of this short entry) their life's work is by itself a never-ending, silent but engaged, "answer" to (what ought to be an) unspoken question best left to others - those other than the artist - to ask. What can any artist (apart, from - maybe - one whose art is oratory) possibly say in answer to such a question?

I was reminded of its unintentional absurdity while watching an old (~ 20 yo) film called New York Stories. Or more precisely, while watching the first of three "shorts" that comprise this film called Life Lessons, and starring Nick Nolte (as abstract artist Lionel Dobie) and Rosanna Arquette (as aspiring artist Paulette). Paulette is Lionel's former lover, but moves in with Lionel in the hopes of learning art from him. The movie mostly explores how Lionel's creativity is coupled with the fits of jealousy he suffers through while Paulette dates other men. Paulette eventually leaves, but not before Lionel has gone through enough jealousy to fuel the completion of the art he needs to open a new exhibit. As the movie ends, another aspiring female artist moves in and we are left with the strong impression that this "new relationship - broken relationship - jealousy - creativity" cycle is the meta-pattern that defines Lionel's world and life.

All of which is, for my purposes here, utterly irrelevant and inconsequential (though is a fair summary of the short film for those who have not seen it; it is certainly entertaining enough to watch and enjoy). To me, the one shining moment in the film happens near the end, right before Paulette leaves for good. We are in Lionel's loft studio (where most all of the film takes place), with Lionel listening to some loud music and painting like a madman - very much in the "Zone." The canvas is huge (it looks like to be at least twenty feet on the side), paint is being splattered everywhere, and Lionel is - as any artist can confirm while painting / creating - oblivious to everything around him except his inner state. In walks Paulette, who has been patiently waiting - yearning, begging - for some advice from Lionel, but has yet to receive anything of value. Heck, she is not even sure if she any good as an artist, much less what to do about it. So she confronts him. Then and there.

"Am I any good?" she asks. Lionel's reaction is the best self-contained "answer" to that question I have seen; certainly on film, possibly ever, in any context, and serves as a thought-provoking - even soul-searching - admonition to all artists, aspiring and accomplished alike. (I may have forgotten the exact details of what happens next, but...) Lionel throws down his brushes with an Eastwood-like "Dirty Harry" fury - veins at his temples flaring and throbbing - phlegm unashamedly spewing - frothing - out his mouth as he screams, "Good?!? What the f*** difference does it make whether you're good or not?!? You paint because you need to!"

What a beautifully transcendent moment. They are "merely" actors, and Nolte is not "really" an artist (or is an artist of a different kind, stage-playing an artist). That does not matter. Though I prefer answering questions - even this one - in a slightly more civilized manner than Nolte's character, I confess that I cannot imagine a better, more perfect, response. It summarizes exactly my own sentiments.

Why do I do photography? Is it because I like taking pictures with a camera; reveling in the tactile feel of cold magnesium and pushing buttons? Because I'm shy in public and prefer to hide myself behind a box with lenses? Because I'm really a conventional artist at heart but know I have no talent for drawing or painting and so must make do with an "easier" art? Because I'm a narcissist who thrives on hanging my work in public? Because I yearn for attention and recognition from my artistic peers? Because I am in a perpetual search for the "perfect picture"? Because I'm trying to find a way to express my "artistic vision"? None of these are true, in the purest sense (though some may contain hints of banal, and fundamentally meaningless, truths).

I do photography because it is who I am. As surely as my laughing at Monty-Python; my relishing my wife's cooking; my joy at playing with my sons; my absorption with physics equations and computer code; my night-time ritual of re-reading, for the umpteenth time, some story by Borges; or my fascination with abstract art - none of which I can explain the "reason" for that adds anything to the simple fact that they are all things I happen to love to do, so too I can say the same about my photography. All of these things are their own reason and explanation. Life and work and play and joy and love and ... everything else that makes up my life and gives it meaning, is a self-contained, self-referential soup of nested cause and effect, and experience. And they are all, ultimately and collectively, the only meaningful expressions of who I really am. I do photography because it is who I am. And when I stop, I cease to be. Until I start again...

"All true artists, whether they know it or not, create from a place of no-mind, from inner stillness."

- Ernst Ludwig Kirchner

Experience = f(Photograph; Context, Interpretation)

In a recent blog entry ("Photography as Transcendence"), I presented what I believe is one core component of what distinguishes "fine-art" photography from a "photograph" (even an otherwise technically well executed one). I wrote that the finest photography makes you forget you are looking at a photograph and makes you experience it as if it were real; as if you were a part of it. The example I used was (indeed, the whole blog entry was based on) a nude portrait taken by one of the photographers at the photography Co-op I belong to. As such, it was obviously representational; which prompted at least one reader to ask whether I was implicitly arguing that the "finest photography" must depict something real, since how else can the viewer feel she is "one" with the work?

My answer is that photography obviously need not be restricted in any way in what it represents, or how it represents it. Even the word "photography" is needlessly restrictive. It is useful only insofar as it "points to" something someone has created (which the world calls a "photograph"). But once the physical object is created, the word "photograph" has served its purpose and can be safely discarded. It is the object we care about; or, more precisely, the affect the object has on us, as viewers. Of course, the degree to which one viewer "feels as one" with a photograph always depends on the viewer's particular predilections and aesthetics. Ardent admirers of Andy Warhol generally react markedly differently to a given image (whatever the image!) than admirers of the art of Wassily Kandinsky. But that is the whole point; a point that - upon deeper reflection - may hint at the embryonic stirrings of an experiential equation of aesthetics:

Before I explain some of the (obvious?) parts of this equation, let me quickly get the "f" (= "function") out of the way. Feel free to disregard it. It is inserted merely as a philosophical placeholder, and for completeness. It reminds us that there is "something" that binds and equates the two sides, but its precise makeup is (for our purposes here) unimportant. It is exceedingly unlikely to have a nice, mathematically well-defined definition. In fact, the best description of what it is a placeholder for is a "human observer" (of "photograph"); and no one, so far as I know (with the possible exception of Stephen Wolfram, developer of Mathematica and the soon-to-be-released Wolfram Alpha), has yet been bold enough to posit a "function" for a human being.

"A human being is part of a whole, called by us the 'Universe,' a part limited in time and space. He experiences himself, his thoughts and feelings, as something separated from the rest--a kind of optical delusion of his consciousness." - Albert Einstein

So what do I mean by this equation? I mean that - ultimately - that the only experience that is of any lasting consequence to an observer viewing a photograph (or any work of art; or anything!) is the experience itself. That is to say, after all is said and done, after an observer "views" an artwork, the only thing that matters to that observer, the only thing that is of any lasting value, is how - from the observer's own inner point of view - the observer has changed as a consequence of experiencing the artwork. No one can say what that experience will be like, beforehand. The observer is able to reflect back on what the experience was like - on what the artwork means - only after experiencing it (which involves recursive feedback loops on nested experiences, meta-experiences, and the like; none of which we'll get into here). But the observer will be changed in some way. She may be happy, sad, puzzled, angry, detached, thoughtful, tearful, sardonic, ..., or (though unlikely) she may remain completely unchanged, save for the memory of having physically interacted with the artwork. And it is the way in which our ineffable inner state - our prison-like solitary experience of "I-ness" - changes as a function of our viewing of an artwork that defines what that artwork means to us, as viewers.

The left-hand-side of the equation thus represents the inner experience that a viewer has of an observed artwork. The "Photograph" is the physical photograph, and is perhaps the only part of the equation that may be described with something approaching a mathematical rigor. It represents the tangibly objective properties of an image. The paper it appears on, the color dyes and pigments it is imprinted with, its tonal range and contrast levels, and - to some degree - the "things" it depicts (either representationally or non-representationally, as "abstract" shapes and forms; defined mechanically, as by a digital scanner).

The "Context" refers to (1) the context in which the photograph itself appears (perhaps as one of a series of related images, or some other over-arching portfolio of images; is it hanging in a gallery? is it a stray remnant of a discarded box of old polaroids? a web-only image on some unknown photographer's photo-blog?); and (2) the context in which the observer finds herself in while viewing the image, which itself includes both inner and outer dimensions. Is the observer in a gallery setting? is it a private viewing with family and co-workers (the latter set including people to whom she is not as "close")? has she just had lunch with a friend and is in a good mood? has she recently had a spat with her mom and is feeling sad? has she had a long interest in photography, or is perhaps herself a photographer, or is her interest more fleeting?

Finally, "Interpretation" refers to how the viewer interprets the artwork; or the (inner) meaning she ascribes to the work. Interpretation refers to how she really "sees" the work; not necessarily how the work "really" is (objectively speaking, as defined by its physical dimension, the "Photograph"). Note that the viewer does not have to (and, in general, may not even be able to) "see" any of the objectively-hidden "subjective" dimensions of an image, if there are any. Think of the well-known "Hidden Dalmation" image which consists of black and white patches, and may be "seen" as such by some viewers; or may be "seen" as a dalmation by others. The "Photograph" dimension of this experience is the objective image; the "Interpretation" dimension is either "seeing black and white patches" or "seeing a dalmation" (and its attendant associations: does the viewer like dalmations? is she afraid of them? does it remind her of a childhood incident that, by itself, has nothing to do with dalmations or dogs of any kind?...)

"All our thoughts and concepts are called up by sense-experiences and have a meaning only in reference to these sense-experiences. On the other hand, however, they are products of the spontaneous activity of our minds; they are thus in no wise logical consequences of the contents of these sense-experiences. If, therefore, we wish to grasp the essence of a complex of abstract notions we must for the one part investigate the mutual relationships between the concepts and the assertions made about them; for the other, we must investigate how they are related to the experiences." - Albert Einstein

What the equation E=f(P:C,I) suggests is that whatever an observer experiences by viewing a photograph (or any artwork) is a (likely very complicated) function of (1) the photograph itself, as a physical object; (2) the inner emotional and outer environmental contexts in which the viewer is situated in while viewing the photograph; and (3) the interpretation that the viewer ascribes to the photograph (which, since it is also a function of multiple factors, may be but only one exemplar - true for a given context - of a possibly vast set of alternative interpretations by the same observer).

On a trivial level, we've simply decomposed a single dimension ("Experience") into three. As an academic exercise, it focuses attention on some of the basic factors that influence how we view art in general. Other writers, considerably more esteemed than I (and with deeper results), have gone through this exercise before. For example, the well-known photographer / photography theorist Stephen Shore, in his book The Nature of Photographs, introduces a similar set of factors (that he calls "levels") for interpretating an image: the physical level, the depictive level, the mental level, and mental modeling. Each depicts one of the four core elements of an image: vantage point, frame, focus and time. John Szarkowski, the late great photography historian / curator / critic, in his The Photographers Eye, suggests five dimensions: the thing itself, the detail, the frame, time, and vantage point. But however you slice the dimensions - one can always add or subtract to taste - such decompositions, if done thoughtfully, are useful because they partly disentangle the otherwise messy soup of objective and subjective factors that define our overall experience of an artwork.

But what I am after here is subtly different. Assuming that the experience of an artwork is the most meaningful dimension (though, as we've discussed, it too has an ephemeral nature, and may take on added dimensions as the same observer "views" an artwork at different times and in different contexts), what the equation leaves the door open for - at least formally - is the possibility that the same overall experience may result from many different combinations of photograph, context, and interpretation.

Think about that for a moment. Suppose the "Experience" is "feeling joyful, imagining you are in a field of Gold, without a care in the world, and being suddenly transfixed by the notion of Buddhist impermanence" (or anything else, for specificity;-). What gave you this experience? Perhaps it was looking at Ansel Adams' "Moonrise, Hernandez" at the Smithsonian (where an original print was recently on display, and which induced roughly the same "inner experience" in me as I was viewing it). Although we are conditioned to think of our experience - after the fact - as being synonymous with what we were viewing (when asked, we reply: "I was looking at the Ansel Adams exhibit"), the more personally meaningful symbolic (and literal) token of our experience is the memory of the experience itself. It is the memory of what we felt as we were viewing whatever we were viewing; the state of mind we were in, cognitively, intuitively, and emotionally. (For mathematically inclined readers, this is essentially the art-equivalent of taking a Fourier transform between, say, momentum and position space in physics. The respective spaces represent two views of the same system; and do so in a way that preserves information. In our case, "information" is equivalent to "experience," and the function "f" hints at a Fourier-transform-like "experience preserving" sloshing back-and-forth among three dimensions.)

Now imagine - perhaps in some distant time, when evolution has worked its magic on our cognitive / emotional / aesthetic processing abilities - we are able to recall experiences as readily as we now recall things and events. Were we such creatures, we would not care whether the "thing" was the "Moonrise, Hernandez" by Ansel Adams (or the "event" a showing at the Smithsonian in Washington, DC in 2008); we would care - and remember - only that there was a moment in our lives when we felt "joyful, imagined we were in a field of Gold, were without a care in the world, and were suddenly transfixed by the notion of Buddhist impermanence." But so many other combinations of photograph, context, and interpretation could have put us into the same state! Depending on the person, perhaps Minor White's "Capitol Reef, Utah (1962)," viewed on a computer monitor late at night could induce essentially the same experience. Generalizing further, perhaps the same experience may also be had by listening to, say, Beethoven's Appassionata Sonata with a group of close friends at a local country concert hall.

Getting back to - and expanding upon - the main thesis of the earlier blog entry, I now state the main conjecture of this blog entry: the finest photography consists of those images that - for the broadest possible set of contexts and interpretations - yield the most meaningful experiences in the broadest class of observers. Note that the class of "finest photographs" is emphatically not defined solely by the physical dimension of any one photograph; and - critically - includes the observer. "Moonrise, Hernandez" - arguably a fine example of "fine photograph" in the Western world ;-) may rank somewhat lower among the Aka People of Africa (whose collective "aesthetics" are probably quite different from ours). Photograph and viewer are - must be - inextricably interwoven and coupled. A "photograph" has no more a single interpretation, and entails no more of a single experience, than a human is defined by a single inner state and experiences life as a single event (though some mystics claim that is precisely what life is). What a photograph "is" (to an observer) depends on - and is, in turn, shaped by - how the observer experiences the photograph; which henceforth becomes part of the observer, and helps shape what other photographs "will be" and the manner in which they, too, will shape the observer.

"I don't believe people are looking for the meaning of life as much as they are looking for the experience of being alive." - Joseph Campbell

Taking a cue from Campbell, we can rephrase the main conjecture of this blog entry as follows: the finest photography consists of those images that - for the broadest possible set of contexts and interpretations - induce the richest, deepest feelings of being alive in the broadest class of observers.

Thought Experiment #1: What would an artwork that depicts all of the possible artworks, in all of the possible contexts and interpretations that a given observer might ascribe to them, look like, starting with - as an example - Adams' "Moonrise, Hernandez"? How would an observer of Adams' "Moonrise, Hernandez" experience this meta artwork? Is there a Borgesian Aleph of art?

Thought Experiment #2: This blog entry has introduced a formal destinction between a "fine art photograph" and a (run of the mill?) "photograph" as defined for a group of observers. An obvious question is, what does this distinction entail for the individual observer? Folloing our formulation, we speculate that an observer - say the artist herself? - seeks that combination of artwork, context and interpretation (as any other observer does, of course) that induces the richest, deepest feeling of being alive. Here's a thought experiment: thinking only of yourself as observer (no collective "averaging" is being done here!...this is you we're talking about!), what would you imagine that artwork to look like that - out of all possible artworks that you can possibly create in this lifetime, and that you can observe in all conceivable contexts so as to form all imaginable interpretations - is the one that makes you feel most alive? Now go out and create it....

Postscript: the image posted at the top of this blog entry is a triptych of photographs of moonlight, reflected in Lake Saranac, in the Adirondacks NY. The images were taken from a series captured during a single, exceptionally clear night in August, 2008.

Hey Fella, Would you Mind...?

Audacious, brash, brazen, daring, disrespectful, forward, impertinent, impudent, presumptuous, rash, rude, shameless, ...

One of my pet peeves, in and out of photography, is what I call the "in your face" approach some people take to get my attention (I am sure I am not alone is despising this phenomenon to the "beyond measurable category" level). I am emphatically not referring to people who are quiet and polite; (which most are, of course); and certainly not those who patiently wait for me to finish whatever it is I am doing - usually hovering over my tripod, bending up and down and sideways, while gesticulating wildly with my elbows trying to find a reasonable composition (my wife refers to my picture-taking process as akin to the wild thrashings of a stark raving mad broken-pretzel) - before introducing themselves.

No, the class of people I am referring to are of a distinct "Hey Fella, Would you mind...?" bent of mind. The kind who - regardless of how busy they must surely see you are (it is hard to be "gesticulating wildly" without at least appearing to be busy doing something ;-) - nonetheless suddenly, brazenly, and anything-but-quietly approach you - often tapping you on the shoulder for good measure, presumably trying to increase their chances of getting your attention - to demand (yes demand!) that you stop what you are doing in order to take their picture. As preposterous as this may sound - come now, people don't really do that, do they? (yes they do!) - this has happened to me for so long, so consistently, in so many different places, that I never go on any of my photo-safaris without expecting (and bracing for) at least one such encounter.

Here is a typical "Hey Fella, Would you mind...?" encounter I had recently on a trip my wife and I took to Grand Cayman island (to get away from it all during Spring break). My wife and I are on the beach in front of our hotel. The sun is setting (with precious few moments left before it disappears below the horizon). I have my tripod set up a few feet from shore, and am attempting to get a few Hiroshi Sugimoto-like (i.e., looooong exposure) shots. I have my trusty Singh-Ray vari-ND neutral density filter screwed on. And I am very much "in the moment"; ticking off the seconds of a shot and anticipating only a few compositional opportunities left before the light disappears for the night.

Behind me, I faintly hear some whispers (though with an obvious urgency). "There are only a few moments left! Get someone!" A family. A man, a woman, and two teenage kids. I hear feet shuffling on the sand, ice sloshing in a glass (a rum punch?); voices getting closer. "He's busy." "So what, the lights going!" Two pairs of feet shuffling now; I also hear a few giggles from the kids. "I can't bother him now!" (A faint glimmer of hope that at least one member of this party has some decency!...but alas...) "He can take his pictures later...ask him, go ask him!" I hear: "Ah, fella, would you mind...?" (I'm not kidding you!) Keep in mind, I'm huddled over my camera, and in the middle of a minute-long exposure. I keep my posture, and say (without lifting my head) - loudly enough for him to hear, but with an even tone - "I'm in the middle of a shot right now; this is not a good time." "But I just heard the shutter; you've taken your shot already!" I can't believe this comment (I sigh, inwardly, but keep my eye at the camera - 45s, 46s, 47s, ... - and remain silent.

I feel a light tap on my shoulder (I am not making this up!) "Hey fella, didn't you hear me? My wife and I would like you to take a picture of our family before the sun goes down." I still - somehow (!) - manage to keep my composure. I remain glued to my camera, but say, firmly this time, "Sir, I am busy right now. Perhaps you can find someone else to take your picture?" I should point out that the beach was filled with people, many of whom had their own cameras; and at least one other person had a tripod (which he was not even using, and was content simply enjoying the sunset view).

The man persists: "Fella, there are only a few minutes left!" An assertion that finally grabs my full attention. I stand upright, look his way, and say - rather angrily I admit - "Yes, I know! I'd very much like to use this time to do my work, if you don't mind!" He doesn't let go: "Hey man, it's just one shot, come on..." Now, I know there must be some Emily Post etiquette behavior guide for situations such as this (there ought to be, if not). I grit my teeth - outwardly trying to smile - take his camera, move in front of the man, his wife, and two giggling teenagers, and tale a quick shot with their camera. "Thanks man," is all I get for my efforts (as I run back to my tripod)...almost. As I prepare to hit the shutter one last time (to capture the shot you see reproduced above), I feel another tap - I can't make this stuff up! - "Hey fella, can you do one more, please, without the kids this time?" At least he said please!

I have dozens of stories very similar to this one. An unforgettable "encounter" happened in Santorini, Greece last year, and involved a German couple who spoke not one word of English (nor I German). That made it both better and worse (and in hindsight - but only in hindsight - hilarious), but I'll leave the details to your imagination :-) There are no deep lessons or morals here, save for the obvious ones: (1) people will be people (on both sides of the camera); (2) always plan for one or two rude people (that way you won't be surprised); and (3) it pays to not lose your cool (had I lost mine, I would not have gotten the one "keeper" of the night, the shot at top).

Postscript. For those kind readers who have, over time, picked up on my penchant for Borgesian/Godelian recursive mysteries, be assured that I did toy with the idea of weaving my tale around an infinite regress induced by my having thrown the "audacious, brash, brazen, daring, disrespectful, forward, impertinent, impudent, presumptuous, rash, rude, shameless,.." man's words right back at him: "Hey fella, would you mind...?" (Which would have made as much sense for me to use on him, as he clearly believed there was in using them on me.) In some unknown universe in the limitless multiverse we occupy an infinitesimally small point in, there is a world, much like our own, where an "encounter" between a photographer and a man wishing the photographer to take a picture of his family never ever ends: Hey fella, would you mind...?, Hey fella, would you mind...?, Hey fella, would you mind...?, ...