Show at the Sacramento Art Complex

We installed my show at the Sacramento Art Complex last night. James Gasowski is showing his abstract desert paintings in the main gallery in front, and I have 9 gelatin silver prints on display in the smaller conference room gallery in back. The opening is this coming Saturday (1/11), with an invite-only reception from 4:30-6:00 pm (you're invited!), and a reception for the general public from 6:00-9:00 pm. We'd love to see you there!

Sacramento Art Complex
2110 K Street
Sacramento, CA
More Information →

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Prints on Display in January

There will be a few opportunities to see my prints on walls in Sacramento during the month of January. I'll have 7 prints on display at Temple Coffee on 9th Street in downtown Sac, and 9 prints on display at the Sacramento Art Complex at 21st and K Streets in Midtown. Details as follows:

Temple Coffee
1010 9th Street (between J and K)
Sacramento, CA
More Information →

Sacramento Art Complex
2110 K Street
Sacramento, CA
More Information →

And as always, I'll have a minimum of 10 prints available for viewing at the Viewpoint Photographic Art Center in Midtown. My portfolio drawer is number C-14, and don't forget to check the print racks too!

Viewpoint Photographic Art Center
2015 J Street
Sacramento, CA
More Information →

A Reminder

A reminder from one of the greats to avoid the G.A.S.* trap...

"The fact is that relatively few photographers ever master their medium. Instead they allow the medium to master them and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don't know what to do with it." 

--Edward Weston

It seems good advice never goes out of fashion. Regardless of whether we're talking about antiquated sheet film view cameras (as in Weston's case), or the latest digital wonder that hit the streets last week, gear is not the answer to our creative challenges.

*Gear Acquisition Syndrome

Salgado's Genesis

I just received my copy of Sebastião Salgado's masterpiece, Genesis. Salgado is considered one of the world's greatest living photographers, and this 500+ page photo book is the culmination of his life's work. Without overdoing it on the superlatives, all I can say is the book is absolutely stunning. If you're interested in landscape photography and you'd like to feast on a massive collection of the best work of arguably the best landscape photographer of the modern era, this is your book. Here's more information from the publisher:

On a very fortuitous day in 1970, 26-year-old Sebastião Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward—though it took years of hard work before he had the experience to earn his living as a photographer—the camera became his tool for interacting with the world. Salgado, who “always preferred the chiaroscuro palette of black-and-white images,” shot very little color in his early career before giving it up completely.

Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world, Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, GENESIS, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The GENESIS project, along with the Salgados’ Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.

Over 30 trips—travelled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions—Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. Mastering the monochrome with an extreme deftness to rival the virtuoso Ansel Adams, Salgado brings black-and-white photography to a new dimension; the tonal variations in his works, the contrasts of light and dark, recall the works of Old Masters such as Rembrandt and Georges de La Tour.

What does one discover in GENESIS? The animal species and volcanoes of the Galápagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo’é tribe deep in the Amazon jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Juruá rivers in the Amazon; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado likens GENESIS to “my love letter to the planet.”

Taschen 

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Oak Woodland, Study 4

I posted a new photo to the Placer County portfolio today. Oak Woodland, Study 4, was taken last year in a nearby open space within walking distance of my studio. The image represents a landscape type that's common to the area where I grew up and now live. As kids, we spent many days gallivanting around oak woodlands just like this, hence my special connection with this type of terrain. 

Oak Woodland, Study 4

Photography and Self Expression

Whether or not we consciously think about it, a large number of choices we make in life are a form of self expression. From the type of work we choose to do, to where we live, to the type of clothes we wear, if we're fortunate enough to be able to make those choices, those choices say something about who we are and what we consider important. 

Similarly, our photographs have the ability to say a lot about us. Choosing to take a particular photo is far from a rote mechanical process. A large number of variables have to be considered before clicking the shutter, including subject, location, time of day, perspective, exposure, focus, and on and on. Then, once the raw image is captured, there's post processing and the nearly infinite number of possibilities that lead to a final image.

Even if we're not consciously aware of the process, how we answer those questions over time says much about our aesthetic preferences and eventually defines our artistic vision. And if we're consistently true to our artistic vision, our images may even express something about who we are as individuals, and what we consider more generally important in life.

Should I go to Tibet?

As I intimated in my artist’s statement, I believe we landscape photographers should photograph what we know best, as opposed to traveling the world looking for photographic “trophies” to bring back from places we know nothing about. Besides being more environmentally legitimate, shooting locally is also much more likely to result in a cohesive body of meaningful work.

The great British photographer Chris Tancock discussed this idea in an interview published in On Landscape magazine:

So I’m not thinking, “I’ll find something magical to photograph” which is what so many photographers do. I get so many people on workshops who say, “Where should I go to photograph? Should I go to Tibet? Should I go to Peru?” Why? What do you know about Peru or Tibet? Let somebody who lives there photograph it; there are enough photographers all over the world for that. If you’re a landscape photographer you think, "I must go to Iceland" or "I must go to Glen Coe."

There are a lot of reasons why I photograph around myself and one of them is because I believe people should photograph what they know about. I also believe why go anywhere else. If somebody from Tibet comes to Nolton Haven it’ll be the most exotic place in the world to them because it’s different, that’s all it is but what do you love about Nolton Haven? What would I know about Tibet if I went there? What could you photograph? Just the exotic. You’ll end up with National Geographic type photographs. I don’t like that genre, they don’t tell you anything, they are just pretty pictures, they are really so superficial.

Great stuff. Read the full interview at On Landscape.

The Lonely Tree

The concept of the lonely tree is nearly ubiquitous in photography, to the point that it is sometimes considered a cliche. You've seen the images here and on other photographic websites; the single tree on a sloping hillside, or framed against a stormy sky at dawn or dusk, evoking loneliness, solitude, sadness, and other similar emotional states.

The image of the single tree can also be a study in detail, texture, and composition, as well as a documentation of the life of a particular tree. The great Michael Kenna most eloquently demonstrated this approach in his series of photos of an old tree on the banks of Kussharo Lake in Hokkaido, Japan. Over the years, Michael made multiple trips to Hokkaido to photograph the tree until it finally collapsed in 2013. He frequently referred to it as "his tree", and assigned it anthropomorphic qualities when describing his "relationship” with the tree. 

Michael's approach to his Hokkaido tree has inspired me to repeatedly photograph a handful of my favorite oak trees in the woodlands near our home. I'm always delighted to find a new and unique photograph waiting to be captured when I go back to visit my old friends.

Woodland Walk

A storm rolled in this morning, so naturally we couldn't resist taking a long walk through one of our favorite nearby woodlands. The light was perfect and the clouds were putting on a show as the storm rolled in over the oak savanna. It was an unusually productive outing with three new images added to the site. Have a look in the "Recent" portfolio.

How to Improve Your Photographs

Hint: it's not a new camera.

The camera manufacturers, as well as many well-known photography gurus on the internet, would have you believe that the best way to improve your photographs is by upgrading your camera. It's certainly to the benefit of their pocketbooks to promote buying and selling gear, but unless you have money to burn and you're shooting with an outdated digital camera (let's say more than 7-8 years old), they're giving what is poor advice for most people.

In reality, the best way to improve your photographs is to carefully study the work of the long established masters of the craft. Understanding what makes a great photograph, and incorporating those concepts into your own work, is infinitely more valuable than increasing the number of megapixels on your camera sensor.

Here are a few of the artists whose work I've been studying in recent years:

Edward Weston
Minor White
Ansel Adams
Eliot Porter
Imogen Cunningham
Michael Kenna

Who you choose to study should be based upon your own interests and where you are on your path of discovery. The most important thing is not the particular photographers (there are many greats), but that your energy is directed toward understanding images, not acquiring gear.