More time in my old hometown. I’m not going to pretend that it’s an enjoyable place for me to visit. With the cold, damp blast of winter, it’s even less hospitable. My camera provided little solace, though a wander through the woods down the block from my father’s house gave me a small bit of nature; a reprieve. Back when I was a kid, you could cross paths with a skunk or a possum in these woods. But in the decades since I left, deer have become ubiquitous in the area. They show little fear of humans, which is maybe a blessing and a curse for both sides of the equation. I did come face to face with this youngster while wandering through the late February thaw / muck. We sized each other up before parting ways. Two lone creatures trying to get through life while surrounded by suburban sprawl, we shared something in common on a gray afternoon in New Jersey.
Treasure From Trash
From time to time, I spend a few hours in a community darkroom here in Albuquerque. Though it open to “select” members of the community, the nicest thing about it is that when I book time there, I have the entire darkroom to myself. No fighting over when to turn on the lights, and I can use multiple enlargers at the same time. I like to experiment with expired papers, odd exposure techniques, and often times, found negatives.
One a recent visit, I found some “failed” film on the ground, stuffed in the corner of the darkroom, covered in dust and dirt. A few rolls that someone had obviously loaded incorrectly into the developing tank, it had chemical marks, streaks, and plenty of evidence that the film stuck to itself during the processing. The creator obviously discarded the film, seeing no value in it. On the other hand, I find these kinds of mishaps intriguing. I sometime distress my film intentionally to get the kinds of random results that this artist clearly distanced themselves from. I rolled up the forgotten film and brought it back to my studio. I eventually got around to scanning it an manipulating it in Lightroom. I like the unrestricted chance to play with this film, allowing for panoramic abstractions that are more about the medium itself than the need for any recognizable image. I love the results. I suppose I should give credit to my anonymous collaborator. One person’s trash is another’s treasure, indeed.
Waxing Poetic
A new year has given me the impetus to refocus my studio efforts. I learned a trick from a YouTube video about British artist Ryan Gander. He covers a wall of his studio with index cards, each having an idea for a project or an art piece. He uses this wall anytime he needs a new idea to work on, or to prevent creative blocks. Inspired, I bought a pack of index cards and let my ideas flow. The “murder board” in my studio has a handful of these cards pinned to it, and I actually started a couple of projects over the past few weeks.
I started to revisit my work with encaustics, and have been combining it with images from my “Burn Index” project. The bleached, burned prints take on an interesting character when a coating of melted wax is applied. I like the metaphoric idea of fire and heat being further inflicted on the photos, which are mostly images from the desert of Arizona. Knowing most new year resolutions ultimately fail, I think the card approach is a more dependable way to keep busy and inspired in the studio.
New Zine Release: Réfracté
Excited to share the news about the release of my new zine. It is the result of a whirlwind week in Paris. I took to the streets, with a camera in one hand, and a “secret weapon” in the other. Voilà! Here is a teaser video to get you excited. You can order the new zine now via my BigCartel shop, click on the button below.
PLEASE NOTE: These will not ship in time for Christmas arrival, but consider it instead for
a New Year / 2024 gift for yourself or someone you know who loves Paris.
Remembering Larry Fink
I was sad to hear over the past few days that photographer Larry Fink had passed away. Larry was of a generation of photographers, coming-of-age in the 1960s, when social consciousness was at the forefront of their work. Larry always struck a strong balance between documentary approach and fine art aesthetics. He was unique because, though he was social aware, his work was not simply dismissed as “cause” related. Maybe it was the Rembrandt-like lighting he often achieved with his flash. Larry is probably best known for his look at social stratification, the “haves” and the “have nots.” This work is the basis of much of Larry’s career, and is the featured subject of his outstanding book Social Graces from 1985.
It was around the time that this book was released that I first became aware of Larry Fink’s work. I was a college student at the time studying photography in New Jersey and I actually had a connection to Larry through a friend who worked as a darkroom assistant for him in nearby Pennsylvania. As part of my studies and involvement in the photography department, I thought it would be a good idea to reach out to Larry and see if he might come and meet with the fellow photo students at my school and also make a presentation. I got his phone number from the friend left him a message, and then lo and behold he called back, leaving me a message on an answering machine (old technology, I know…) The message made my film student roommate freak out that somebody of the caliber of Larry Fink would be leaving me a message. That’s the kind of world that we lived in that a figure such as Larry would make that kind of impression on us. Larry did agree to come spend a day with me and my fellow photo students, and he was charming and gracious ; very giving with his time, and I remember the work that he shared as part of his presentation left all of us inspired and impressed.
Needless to say, Larry’s whole career produced a string of stellar bodies of work. You can easily Google “Larry Fink, photographer” and see examples of his work. It’s sad when the greats of the medium pass on, but we are fortunate that they leave us inspiring bodies of work that will last far longer than any of us will. Thank you Larry, rest in peace.
Paris: City of Photography
I recently returned from a trip to Paris, France, where I attended Paris Photo, the largest annual photography gathering in Europe. This was my first visit, and thanks to my podcast, I was able to secure a press pass. The show itself was overwhelming, with numerous galleries showcasing a wide array of work, including classic photos, new photography, and digital photography. There were also booksellers and book signings, and to top it all off, an installation by Daido Moriyama.
The Paris Photo show spanned four days, and I found it so overwhelming that I attended three times. However, the city had many other photography-related events taking place simultaneously. One such event was Polycopies, an independent publishing photo book event held on a boat stationed on the Seine River. Polycopies served as a “punk rock” response to the larger, corporate attitude of Paris Photo, and I personally found it more to my liking. Another noteworthy show was OffPrint, focusing on books, not limited to photography but encompassing various printed matter. It drew a diverse crowd and added to the cultural richness of my experience.
The Pompidou Center hosted a photography exhibit well worth attending, titled “Corps à corps - Histoire(s) de la photographie” featuring an impressive array of work spanning the history of photography. I also had the pleasure of attending a photo exhibit by Julia Margaret Cameron, showcasing beautiful Victorian glass plate prints at the Jeu de Paume museum. However, one of the highlights of my time in Paris was attending a Michael Ackerman photo exhibit at the Camera Obscura Gallery in Montparnasse. I even had the opportunity to meet Michael and engage in extensive discussions about his work.
In addition to savoring delicious meals and indulging in a bit too much smoking, I immersed myself in the photography that surrounded me. The experience left me inspired, and I found myself compelled to capture many moments through my lens. More on that front will undoubtedly come in the future. I've already marked my calendar for next year's Paris Photo dates, eagerly anticipating another visit to this vibrant city that truly shone as the center of the photographic world during a wonderful week in November. I consider myself fortunate to have been a part of it.
Smoke and Mirrors
Another family obligation visit to New Jersey this week. Thankfully, I was able to carve out time for a visit into New York City. They say that it’s easier to photograph in NYC… there is certainly no shortage of subject matter, and the cacophony and chaos of the urban environment is a never ending sensory overload. That being said, I also find it challenging to make photographs that aren’t trite or cliche. It is a fine line between the best and the worst of “street” photography. I wanted my photos to have some unique character to them, so I brought along a pocket-sized mirror to play with while I shot. Pushing my lens up against the mirror allowed me to combine reflected scenery within the same frame as scenes directly in front of me. The juxtaposition of front and back merging into one exposure, for me, captures the complexity and energy of midtown Manhattan in a unique way. I’ve been toying with this approach for a little while now, but I now believe it is tailor made for the city streets. This might be the start of something new for my work. We’ll see if the novelty wears off, or if creative horizons broaden… reflected or otherwise.
I-40 West; Grants, New Mexico
Doldrums tend to strike if I sit idle for too long. Such was the case this weekend. A full tank of gas and a new camera to play with was enough motivation to get me out of town, for a quick day / road trip. Jump on the Interstate and head west, and all sorts of things await discovery. Even old haunts that I’ve tread through numerous times can yield new images. Especially when the weather takes a sudden, dramatic, turn for the worse. Desert rain is usually a cause for celebration, even on a day when photos are on the docket. The roads might get treacherous, but the views through the camera were worth the moments of white knuckle driving.
Making Contact
Over the past few years, I have moved further away from straight photography in my creative practice. Any follower of this blog will have known that I have taken various drastic departures in pursuit of image making. At the same time, I’ve struggled with the fact that a “photograph” by is intrinsically representational.
Regardless of whatever manipulation one does: with lens or camera choices, post exposure manipulation (both analog and digital) there are still the fingerprints of some direct representation of the world within the image. This continues to be a quandary for me to deal with creatively. I have been revolting against the stream of similarity of images on social media: the impermanence and banality of even the most technically proficient photographs. Interesting subject matter or interesting concepts represented in a straight photographic manner for one reason or another has lost its appeal to me.
And yet. As I wrestle with this paradox I am looking for a detente of sorts. One small step I have recently taken is to carry around a small point shoot some camera with me. Through my daily obligations and travels I’ve been snapping photos of anything that happens to catch my eye at a certain point. I try not overthink the relevance of the subject matter, nor the technical approach. At the same time I am creating straight still photographs of the world around me.
This week I developed two rolls of the film I shot and it is still curious to me that even the most throwaway images seem to possess some kind of extra power when locked forever in silver halide on a roll of film. What might become of these images? Nothing, most likely. However, spending an evening developing, then scanning and studying his images has served some form of emancipation from my internal struggles with the work I create. There is still something quite alluring about seeing 36 images lined up on a sheet of paper. This current practice of mine, resulting in a contact sheet to meditate upon, is well worth the time invested.
Portrait of the Artist in a Jungian mode
Another Trip around The Sun
Today is my birthday. 57 years ago I came out of the quiet unknown of the womb... of non-existence… of the great nothing, or maybe the great everything. I am a survivor, as you are as well. No matter your age or station in life, we are here, we have survived the trials and tribulations that life throws at us. Congratulations to you and to me.
This past year has been especially hard for me, and the ups and downs that inevitably come have challenged me in ways before unknown. If I believed in God (capital G) I would thank him for giving me the strength and wisdom to carry on. There are clearly other forces out there in the universe that push and pull energy around me, and through me, too. This energy mostly manifests itself in my art; my self-expression. I am grateful to have it. I might not be here without it.
Good things have come to me, mostly wrapped in love and honesty and when I am am open and receptive to it. When I am dark, it is hard for any light to shine through. I continue to do the work…inside and outside of myself. Even when it is hard, or when my lethargic self kicks any ambition to the curb… I strive. One small act a day. Something made from my heart, deep from within, manifesting it to a tangible reality. Mostly junk that piles up in my studio. Mistakes, short tangents, tests and trials and failures. Always failures. Gratitude for the failures.
I’ve been down a rabbit hole recently, listening to an audiobook by a Jungian psychologist and it is hitting me strongly. Second half of life shit is no joke. If you’ve been there (or are there now) you know what I’m talking about. If you are a younger person, scoff all you want at these words, as I would have if I read something this sappy (or heavy…or brutally honest) when I was a younger lad.
I’ll leave these thoughts here, and probably look at them again in a year or five or ten (god willing…small g) and probably laugh at myself for being so transparent, or so confused, or so on target. Until then, “Happy Birthday” to me.