Grab - Puerto Madryn, Argentina Duo

1. Free carousel on the Puerto Madryn, Argentina beach.

So it's possible that art's about memories? That memories are the ultimate filter? 

But memories go goofy. Lots of people, like me, rarely dream in color. Something sucks away everything but shades of grey. Which is like emotional liposuction. Hmmmm.... Invented in 1983, the prefix to the word... "lipo" comes from the Greek word "lipos" for fat.

What's it mean to surgically remove all but various shades of one color? Is only fat gone? Or has the operation become... profound? While I've got color-blind cousins, I see what I call colors. And you do the same, right? So removing all but say, B&W shades strips away...? Is it possible, in any way, to do an accurate picture of anything without some commonly accepted agreement over the identity of say red from green? Green from blue? And all of what our brain defines of every gradation resulting from any possible mixture of RG and B?

Is all black and white representation... illustration... as opposed to say, photography?

Are your non-color dreams photography or illustration? Are your conscious memories, for that matter. photographic? Or are they something else each time you take them out for review? Tried another way... Is the mere act of "remembering" a... in photographic terms... a lossy process? Like jpeg images, they suffer a loss of information each time they are compressed and recompressed, and... 

2. Free carousel on the Puerto Madryn, Argentina beach.

Of course memories are filtered through a lossy screen each time they're examined... and they have a shelf-life problem even in their storage bins. Who can argue that their images are "representational" in any sense in the face of infinite contrary evidence? At best our memories are illustrative. And to the degree that we assemble them to draw conclusions - which after all is what art does - well,,,

Note that word, "draw". We're back to sucking. Huh? To draw is to what? To represent something with tools, words, or such. Or to pull something out. I can draw blood from your vein, draw gold from its vein, or draw a conclusion. But, a conclusion from whom?

Say what? Well do these two images draw any conclusions from you? About what? Or have I drawn conclusions that I'm representing in either one or the other of these images? Representing to whom? Me? You? 

Are we each sucking on the same story vein? Does color liposuction cause us to draw... different conclusions, me with my tools, you with from your own emotional vein? 

Are either of these images illustrations of reality? Or has the lossy process of art sucked away enough of the sculptor's stone that maybe a goofy angel gets released? Sigh... 

Enough questions for a crisp November night? 

Patagonia 8: Buenos Aires - Deadly Thoughts

How do I wind up in cemeteries? Seems our guides, or friends find the largest and most historic dead-zones for us to wander (and wonder) about. So on February 2, 2019 - at about 10am: Here’s a moment in  El Cementario Recoleta where Argentina’s largely 1822-1960 very rich and/or famous are spectacularly interred. It’s a tourist magnet. And at its epicenter my Canon 7D MkII snapped this decisive Buenos Aires moment. Our brains are wired to bring order to puzzles. To find meaning in disparate stuff.

And in the park's epicenter - with all of the ornately crafted and bejeweled mausoleums about, my camera found this decisive moment of passers-by...

Strangers among the dead

And as I studied the moment... this came to mind:

“So… did’ja ever see a

poem?” she asked, her foot tapping.

.

 “Y’know, in another language?

Maybe Spanish? But, like, 

I don’t understand Spanish.”

“So… I’gotta’ geek at words that

sorta look English-ly?”

That foot twitched quicker.

“Which reveals what? 

Maybe there’s sorta’ 

D-E-E-E-E-P stuff in there?”

She paused, foot tapping loud.

“So… well look at this image. 

It’s kinda like that.”

Her tapping paused…

“You know what I’m sayin’?”

Well do you... um... know what she's sayin'? There seems to be a story in that image, perhaps a visual poem... haunting me as much as the opulently haunted little bone-homes lining the avenues which lead to esta centro del Necrolpolis de Recoleta. 

Daybreak on the 4th

Selected as the "Coolest Town In America", Lititz, Pennsylvania is home to the firms which do sound and sets for the world's most important touring music acts. Think Rolling Stones, jLo, Elvis, 4 Seasons, U3, Elton John, most key country acts, as well as Lady Gaga, and even Tony Bennet (Elvis? Well, once-upon-a-time, yep Elvis booked his sound through Lancaster County's Clair Brothers). And its in this quiet farming village where they all come to work out their pre-tour moves and acoustics. It's got an arts, and a professional community. All atop some of the richest non-irrigated farmland in the world! 

I grabbed this image on a 4th of July bike ride. This field of flags was just off the towns main cross street in front of Linden Hall's chapel. Founded in 1746 by the Moravian Church - this school was among the first to offer a rigorous college preparatory program for girls. 

GEEK STUFF: I pack a trusty Canon G10 into my bike pack. The small, light, G-series cameras offer both an optical range-finder (essential for focusing and framing against back-lit subjects like this) and full manual exposure, focus, and f-stops along with RAW space. No wonder so many pros carry them. The image was processed in PS/CC first in Photomap-Pro, then with a range of monochrome tools including the infrared augmentations in Alien Skin's powerful Exposure C2. 

Tell Me A Story • #5 - When to say, "Done!"

Runner • Lancaster Race Against Racism • 4/16

There're novels behind every face. 

Every artist understands the challenge of when to say, "There. That's finished! Now I can turn to another work." While we all know that a work is never finished. Nor is any one interpretation or conceptualization adequate. But the composer enters a last note, the poet a last word, and the novelist a last feeling. So do I. You? Do you know that anything ends sufficiently to write "Finis"! after a work? 

Anywayzzzzz.... You'll recall I wrestled with this man's image in late May. Then I had run into tech problems, which never did resolve themselves. But his story continued to haunt me... And then it occurred to me to think that he was best "penciled in". Uh-huh, that his story was difficult to capture and is best rendered in zillions of strokes. 

In this "Tell Me A Story" series, I'm interested in your thoughts/feelings re. this man's thoughts/feelings. Faces trigger us to wonder, then tell ourselves their story, right? So? If you found this as the illustration above a serious magazine's short story... What would it be about? Hmmmmm? 

Tell Me A Story • 4: Madonna

Race Against Racism runner(a)  • 4/30/17 • Lancaster, PA

Mysterious eyes. 

When color's surgically cut away, is there more or less identity... More or less story... More or fewer clues? I wonder: Do blind people understand others at a deeper or more shallow level? Is radio in anyway superior to video in communicating the depth of personalities? 

There's a resistance to digital post-processing, dismissing it as inauthentic. The word manipulation is the common verb that describes digital post work. I prefer augmentation, even revelation since manipulation sounds what? Dreary? Calculating? Callow? Shallow? Never mind that painters, for example, do nothing but manipulate... augment... reveal... the realities they imagine. Ditto poets, novelists, and composers. Can you imagine someone charging a symphonic composer of manipulation? Playwrights routinely manipulate the emotions of audiences, don't they? Is that a bad thing?

Yet somehow describing digital post processing as manipulation is dismissive, even insulting. But that's not my real point here. Those most likely to critique the idea of augmentative post processing argue that purity lies only in the image which comes out of the camera, right? Now I've written about pre-processing (lens choice, lighting constructs, filters, makeup, wardrobe, scenery, POV... and like that), and even what I guess you could call immediate processing involving the manipulation of panning, framing, and DOF. All of that manipulates what comes out of the camera. And that doesn't even begin to touch the things camera engineers have built in to manipulate sharpness, color and dynamic range, Etc. 

But none the less, purists who reject digital post processing as in-authentic have no memory of the wet darkroom where printmakers first selected among radically different developer chemistries/timings/heat, then chose between diffuser versus condenser enlargers, contrast/texture/pigment of papers/substrate, developer dynamics, hold-backs, burnings-in, solarizations, and on and on to create a one-of-a-kind final print, even in monotone. The opportunities to create one-off darkroom prints in color increased exponentially. The fact is that there never was a final print that was not processed heavily by at least the photographic artists and perhaps different darkroom technicians, and retouchers (both on the negatives and prints). 

Is all of this sounding defensive? Okay.... look at this:

Race Against Racism runner (b)  • 4/30/17 • Lancaster, PA

As I roamed the park next to my home here in Lancaster on the morning of this year's Race Against Racism run - I consciously looked for a series of faces to speak to you dramatically in monochrome.I could have set my Canon 7D to bleach away all color and make captures only in monochrome. Why do that? Why not allow all of the information possible to reveal narrative arcs? 

So first I processed this image above as a square (you'll note that this and the next images will all be square-cropped, since my Hasselblad days, that format's been a powerful challenge to me). And I processed it for the most haunting dynamic range and sculpting, adding a touch of glow to offset the overcast lighting of that morning. Then finally worked in monochrome to release the image at the start of this essay. 

But the geek-stuff all involves focusing powerful tools to carve out a narrative arc that allows the lady to tell her story. So, what is it? Once again, Tell Me A Story - THE story which you read from faces. I'm convinced that every street portrait needs to trigger at least  a short story - and perhaps a poem, novel, or epic. Hell, maybe even a sonata, if you won't accuse the composer of manipulating the notes - or the mysterious eyes :-)

Buddies

Spring morning. Buddies. Hanging in the park. Doing whatever. Nice guys, no drama at 11... Not quite yet. Here're boys who haven't learned to slide on attitude with their sneaks.

On the other side of adolescence they'll remember this summer's sun, and how they didn't need to do anything, but could still do everything.

What'll it be today? Something forgettably memorable. And this summer's blur will be there somewhere in memory storage. Like a rhinestone, they'll pull it out decades from now to peer at the glow of a long-ago summer's that's all around this park bench with their best buddies ever.
I caught the boys with my Canon 7D's EFS 70-300mm f/4-5.6 IS USM Lens cranked out to about 150mm. The stabilizer on this glass keeps it sharp enough to prick balloons. Sharp enough to slice off a hunk of boy-memory. Sharp enough to capture buddies who touch in a shared personal space... Remember? 

Radical Chromectomy

Because we can. 

You know, fine art photography's a lot like Everest. Why climb it? Because we can. 

Once upon a time an amateur fine-art photographer lacked the budget to do much creative color work. It was not just expensive, it was tedious. And with the fumes, the process was even a tad dangerous. It was always unpredictable and it ended in unreproducible results. Today full jacket chrome is ordinary as a mini-skirt in Spring. No, that's even too rare... It's ordinary as boy with lust in his heart when he spots a mini-skirt in Spring, right? 

So we're challenged with the emotional goo that chrome pours all over every image. The challenge is multiplied by a zillion. Hence the allure of B&W image making. Here, look at this 1949 Ford Anglia Bristol van that a Killarney shop's got in the middle of its floorspace. It glows with colored feeling. 

OK, and now, instead of finding ways to add chrome to our B&W darkroom-world, we can perform radical chromectomy. Like this...

Okay, have I added by subtracting? Or have I subtracted by adding the chromectomy? How much emotion is ripped away in B&W? Or... are these dramatically different messages, each as complex? But how can something be made differently complex by taking a scalpel to it? Hmmmm... 

Gotta' think on this :-) Should the age of mono-chrome be over? Or is mono really a surrender to the complex challenge of the colors of life? A retreat? 

Thoughts? 

Rocco & Me

<- Click here

My buddy isn't happy about cameras, even on - or maybe especially on - timers.


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OKAY Andreas (see comments).... Here's some wisp of color... sigh.... I hate to break too much with tradition... why, the entire foundation of my political philosophy would shimmy, huh? Enjoy...