I am going to make this short, as I am trying to get my web site as well as some other stuff ready so that I can do a one day turbo blast day next Monday at the Palm Springs Photo Festival. So far, it appears that Larry Vogel and his wife Barbara will be there and if Miguel Garcia-Guzman is on the mend enough, he will try to make it also. So Monday I will drive in early in the morning, get some breakfast, sign up for some reviews, go see the vendors, do some review networking, get a ‘luster’ print made of one of my images and think, yikes I gotta convert from matte paper and now I need a new printer!, stay for the afternoon roundtable discussion, get some dinner and then truck back to O.C. Whew!!
So now you know why this is brief;- )
Best regards, Doug
This image that I made of the three men crossing the street in PingHu may not be part of my series I’m Just Looking (Wo Zhi Kankan). It is a picture about them looking (and of course, me looking at them doing the looking). I can not put my finger on what it is about this image that keeps pulling me back into it.
I am continuing to muddle over the comments regarding Contemporary Landscape Photography and the idea of appearing neutral in the presentation of the visual facts. And perhaps what it means to be objective. Taking this from a different mental perspective may help me, that is, what is a Great Landscape Photograph? I think that the use of the work ‘Contemporary’ may be bringing too much mental/emotional baggage along with it.
I have not seen anyone else mention this, but Brooks Jensen in the recent issue of LensWork (No. 75 Mar-April 2008) announced that this was the last issue of the magazine that will be available for purchase in bookstores. From here on out, you will obtain your copies of LensWork either by subscription or single issue purchase before the subscription issues are mailed out.
So if you have been a magazine rack buyer of LensWork and you like this publication, you will need to become a subscriber to continue your reading and viewing enjoyment.
Brooks cites the amount of waste in the retail distribution channels (70% of magazines on the rack do not get sold, although LensWork does better than that), which translates to big waste of our natural resources.
So it will be interesting to see if this change in publishing strategies will ensure the on-going life of this magazine. Perhaps the new workshop series that they are starting will help continue their momentum. As a LensWork alumni, I wish them well and continued success;- )
Best regards, Doug
This is the part that drives me crazy. Just makes me a fruitcake! (which is dangerous to say when you live in Southern California). I come up with a great idea for a series. In this case, Wo Zhi Kankan (I’m Just Looking) a great phrase I found in my Mandrian language training book.
One of the responses to the question, “what makes a Contemporary Landscape Photography?”, was the need for it to be viewed as ‘objective’. I think that objectivity is what we want from a judge, to be detached from the proceedings and ensure no bias. Which is a good thing for the courts, but I am not so sure about photography. So this idea has been something that I have been wrestling with more so for the last couple of days.
Untitled (JiaShan, China 2008) copyright 2008 Douglas Stockdale
When I read a question asked by Miguel on his blog Exposure Compensation regarding what constitutes Contemporary Great Portrait Photography, it started a kernel of thinking as to how does that same question (and maybe the same answers) apply to Contemporary Landscape Photography?
Postscript 03/25/14: It has been about five years since I have last looked at this photograph that I created in JiaShan. Recently another blogger decided that this image (actually the one below is the image they grabbed for their post) was not as good as a classic modern landscape photograph of a mountain with a lake in the foreground (there fore a “good landscape”). Okay, they even labeled my image as a “Bad Landscape” for a whole variety of reasons. Too funny, yet so sad.
While looking at this photograph again, I realized that in 2008 I was not paying enough attention to the color temperature as it is a bit too warm. As I now recall, I had edited this with the Raw convertor for Photoshop CS or maybe even earlier. So it is time for a do-over in CS3; adjusting the color temperature, increasing the black set point and adding a bit more exposure in the Raw conversion, then a little more sharpening and a slightly different curve layer. It now appears more in line with what I have in my memory of this place and time, as it was a darn cold morning just before a blizzard hit this region hard.
As to the 2008 question as to what constitutes Contemporary Landscape Photography: short answer is there is no answer, it’s really about the question. (see some of the comments with this post).
Note: Photographic image in the original post in 2008 below.
Since my visit to China, and specifically here in PingHu, was very brief, very much a cultural snapshot, a brief slice of time. Thus, I was unable to tell by looking at this family owned business, which came first, the development of the industrial park, or were they just lucky that the government did not allow their small factory to be demolished with the development of the industrial park??
While wandering around in this new industrial complex that was recently built in PingHu, I found this room. It was a large room in size, not neccessarily in height, part of a clean room area for future medical device assembly. The Chinese have a number of windows in their facilities, but they are usually masked with an opacque treatment, frequently white, blue or some odd combination. In this facility, they liked green floors, which also provided interesting reflections.
A window that you can not see out of and the reflection of the window on both the floor and the ceiling that were distorted. Odd and intersting combinations.
and what are these symbolic of??
and does it matter??
Best regards, Doug
What I am realizing is that my series Open During Construction (Zhao Chang Ying Ye) is getting a little more complex than some of my earlier work as it relates to scope. Most of my earlier projects were united under a theme and althought they did change over time, but remained realitivly one dimensional.