John Voss - Photographs: March 2009

Sunday, March 29, 2009

We're having our second show at the Wallkill River Gallery. The back of the show-card says:

"An exhibition of oil paintings and black and white photographs in the main galleries of the historic Patchett House, home of the Wallkill School and Gallery.

April 1-30, 2009

Reception on Saturday April 4th, from 5 - 8 PM"

Any of you who can make it to the show will enjoy seeing the Patchett House at the very least. It's a mid 19th century structure that has been beautifully restored. It's located at 232 Ward Street (17K) in Montgomery, New York. Hours are Tuesday through Sunday 9AM to 6PM
The webaddress is: www.wallkillriverschool.com

We'd love to see any of you who can drop by for the opening, or hear from you if you visit the show during April.

Tuesday, March 17, 2009

Sunday, the 15th of March, was a gorgeous and springlike day. I couldn't wait to get out of the house and exercise myself and the camera which I did with great pleasure. Before I hiked at Goose Pond Mountain State Park, I stopped at the bottom of the "hill" we live on to photograph these images at Walton Lake. The top image is of a fence that separates the public access part of the lake from someone's teensy little postage stamp plot of lake front. The bottom image is of two of the aluminum fishing boats that have wintered over rather badly topside up in the rain and snow. A couple of guys have some serious bailing to do!

Friday, March 13, 2009

Here are yet a couple more from my perambulations around the pond at Goose Pond Mountain State Park two weeks ago. I've titled them as "Winter Light" one and two, but they're really not images that should be titled beyond the imperatives of time and place. Were "winter light" to be a meaningful title, there would have to be less than one percent of the gazillion images that call themselves that to be significant.

They have yet to be printed. I am about to embark on a toning journey that may deepen the sense of mood and light, and these are grist for that exploration. We'll see.

Monday, March 9, 2009

Here are another three from yesterday (March 8th) at Goose Pond Mountain State Park. I've returned here over and over again for several years now, and I recognize in photographing it, the same mentality I seem to exhibit when I buy clothes. Blue, denim, khaki., blue, denim, khaki, white., blue, denim, khaki, white with stripes, black, black black...etc. etc. These negative scans may become prints eventually. They're 6x7 negatives that I've cropped to my nearly obsessively favored squares. They will almost certainly end up being toned with thiocarbamide and selenium, so what you see here isn't really what they'll look like. And...I've Photo Shopped them a good bit in the manner I will likely utilize when I'm printing them for real, so they're not really pure scans at all. Anyway...the joy is in the discovery and the execution, and the next best part is yet to come, i.e. the darkroom. I would abandon photography in a heartbeat if I had no recourse but a completely digital continuum. The irony is that digitizing film is my absolute first choice in previewing negatives...I've not made a contact sheet in years. But, after that, the "real" photographic process begins for me, and I get to retreat to my warm, and cozy darkroom. Will the weekend never come! ;-)

Sunday, March 8, 2009

Today was a gorgeous respite from the last few wintry weeks. I can only hope that we've seen the last of ice and snow, but I'm hedging my bets on that...we'll see. My younger son was born on April 8th, two days after a monstrous blizzard of 14 inches or so of snow on April 6th 1982, so who knows. I'm going to hang up the shovel and drain the snow blower; I could be wrong! ;-)

Sunday, March 1, 2009

After a reflective week following the portfolio review, I'm enthusiastic about my work...I feel empowered to make my own decisions, and utterly comfortable being dismissive of the bullshit that one reviewer had a hard time defining as "contemporary photography". Of the six people who evaluated my portfolio, most were very enthusiastic, one was exceptionally helpful, another was indifferent, and the rest spanned the gamut in between.

These two images were made on February 28th, and represent a direction I'm eager to continue pursuing. The chaos of nature is utterly hypnotic to me, and I hope to become yet more attune to the order that, nonetheless, resides therein.

Subscribe to: Posts (Atom)

"Now to consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk. Such rules and laws are deduced from the accomplished fact; they are the products of reflection and after-examination, and are in no way part of the creative impetus. When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial clichés." —Edward Weston

"How do you become Real?" asked the rabbit. "It doesn't happen all at once" said the skin horse, "You become. It takes a long time. That's why it doesn't happen to people who break easily, or have sharp edges, or have to be carefully kept. Generally, by the time you are Real most of your hair has been loved off and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter because once you are Real you can't be ugly, except to those who don't understand." From "The Velveteen Rabbit"

ARTIST STATEMENT

I make the picture; you do the rest. What you bring to viewing an image is unique, and to suggest what I think you should or might bring would be inauthentic. The only manipulations I use are those of traditional wet darkroom practice which can be emulated with reasonable fidelity in Photoshop Elements, Lightroom or similar software.

Just a bit of 'attitude', thank you very much!

"Photography for me is a way of avoiding grown-ups, boredom and going to the laundromat. It allows me to live in another world, intensified and of my own finding. I assume the right to stare long and hard, to be blunt, loving and unselfconscious. I attempt to find a kind of poetry that eludes me in other more sober activities. It has become a continuous search with no shining end in sight except to go on trying." - Lilo Raymond from Women of Vision: photographic statements, 1982, Unicorn Publishing House

"Photographs are one of mankind's most profound expressions of stillness. They allow us the ability to hold time in our hands and facilitate a merging with time that exists in no other form. ... The world owes a great debt to all those who have, from a state of exceptional awareness, preserved stillness for us to hold." from the Introduction to Road to Seeing by Dan Winters.

"Compensating for lack of skill with technology is progress toward mediocrity. As technology advances, craftsmanship recedes. As technology increases our possibilities, we use them less resourcefully. The one thing we've gained is spontaneity, which is useless without perception". David Vestal

"When I make a photograph, my perceptions feed into my mental model. My model adjusts to accommodate my perceptions (leading me to change my photographic decisions). This modelling adjustment alters, in turn, my perceptions. And so on. It is a dynamic, self-modifying process. It is what an engineer would call a feedback loop. It is a complex, ongoing, spontaneous interaction of observation, understanding, imagination, and intention." from The Nature of Photographs by Stephen Shore

"The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public." Henry Geldzahler

"Art is not like other culture because its success is not made by its audience. The public fill concert halls and cinemas every day, we read novels by the million and buy records by the billions. We, the people, affect the making and quality of most of our culture, but not our art. The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires." from Wall and Piece by Banksy quoted by Bill Jay in LensWork No. 67.

"Art has gotten a bad name as the realm of unctuous charlatans, greedy dealers and their glamortrash clientele--the hang of smartypants fish-wrapper scribblers and toot-brained mummies who dress like Johnny Cash. As cartoon-like as it seems..., the fashionable art world constitutes a tiny fraction of the comprehensive art world, but it has plenty of money behind it." James L. McElhinney

"A serious photograph not only sets itself apart from all other moments but also captures the particularity of its subject—a face, landscape, tree, store front, tool, cigarette butt, pattern of ice crystals—while at the same time revealing its universality. Again, that is what art does—what art demands and requires. Without particularity a photograph is but a meaningless generality. A photograph of a non-descript parking lot that could be anywhere in urban America, whether that photograph is eight feet by eight feet and hanging at MOMA or four inches by four inches in an automotive magazine, is exactly the same thing—a trite generality. The photograph that captures the particularity of its subject stops us because it lies outside the daily barrage of trite and general images we are bombarded with. It holds us because it is like no other moment. It holds us because it has seized its subject as it has never before been seized. " John Wood, 21st Editions

"Objectivity and subjectivity are always a constant battle. When I work on something, I try to be as subjective as possible. Then, as I go along painting, I want to gain a certain degree of objectivity in order to know if anything's working. I look through mirrors; I turn the painting upside down; I try to go outside the house or studio and try to peer through windows as if I'm somebody else looking at it. I go through all these motions to try and see it from an objective point of view." Jamie Wyeth, 2004, from his website

“I always think that being a good photographer is less about knowing rules than knowing yourself. What I make of a subject comes from inside of me.” Michael Levin

"Look at any photograph and the question naturally arises. What does it describe? The world in front of the camera, or the world inside the photographer's head? This tension -- between objective and subjective -- is fundamental to photography. Szarkowski labeled it Mirrors and Windows. Other divisive terms have attached themselves at various times. It's a problem peculiar to photography. There is no mistaking a song or a screen print, for example, for the objective world. But an 8x10 pepper? That's a tougher call. However it is defined, the perceived division has been a meal-ticket for analysts, not to mention the occasional photographer." From a Blake Andrews review of the book Deutschland by Gerry Johansson for Photo-eye.

"Skill without imagination is craftsmanship, and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art." Tom Stoppard

Continuing with the traditional processes of photography in an age in which technology has become ubiquitous there still remains a niche for those of us who embrace the way of the undigitized, unplugged, and hand made.

Usually Close to Home

Most of the photographs here made before September of 2013 were made in the Hudson Valley of New York State. As much as I might want to visit a host of other iconic and exotic locales, I have loved where I've lived, and have found it visually stimulating and satisfying. But, since September of 2013, I have been exploring the region of northern Florida, and southern Georgia where we have moved to stay. The ocean is close by, as are pristine salt marshes, abundant trees that are new to me, many draped in Spanish moss, perpetually changing beaches and dunes, and extraordinary skies. It will be a new body of work. I'm eager to get started.

As to their mostly being monochrome, the venerable photographer, teacher and writer David Vestal offered that he listened to radio because the images were better, and photographed in black and white because the colors were better. I agree completely about the photographs.