John Voss - Photographs: September 2019

Monday, September 30, 2019

Returning to the present day, here are two photographs from Marineland Beach. There was a strong breeze and a tempestuous sky that was a fine complement to the raucous surf. (MF Film)

Thursday, September 26, 2019

Here are three from 2012 taken in the Warwick Valley of 'upstate' New York near where I used to live. I think this is an orchard, but I'm not sure what kind. The trees are too tall and straight to be apples which leaves me utterly uncertain of what they are. They were gorgeous in their April raiment, though! (MF Film)

Tuesday, September 24, 2019

More oldies! From my summers in Maine teaching at the New England Music Camp came this view of the lighthouse at Pemaquid Point. We often went there on our one day off from teaching, and always stopped in New Harbor to eat lobstah with a mug of beah! The other is of the moon at perigee over the Hudson River at Peekskill. Good times! (MF Film)

Saturday, September 21, 2019

Sorting through some pages of negatives from years past, I discovered some from 2001 that were taken at Watkins Glen, NY. I seem to recall reading that some Tarzan movies were made in Watkins and/or one of the other glens in that region. It's fun to see these almost 20 years later. (MF Film)

Here are three more from the Talbot Islands State Parks within the last two days. (MF Film)

Thursday, September 19, 2019

The first two of these three photographs must seem unremarkable until you realize the fences go over little hills! And why is that noteworthy? Because this is northeast Florida and if you feel the need to climb something you need to go to a mall and take the stairs to the second or third floor. The air at the end of September here is finally much more pleasant, and I was not at all too warm schlepping a mile or two with my photo backpack and tripod. There was a good stiff breeze too, and a roiling, windblown surf. (MF Film)

Saturday, September 14, 2019

Here are three more from yesterday's (Friday the 13th) shoot. Who says that date is unlucky anyway!! (MF Film)

Friday, September 13, 2019

Scouting for subjects to photograph, I usually find myself driving north to the Talbot Island SPs and surrounding area. Today, though, I drove south to the area near Marineland. Before getting quite that far, I came to the mouth of the Matanzas River where it empties into the ocean. I have to remind myself to go there more often as there's much drama in the sea and sky when the Atlantic Ocean has been or is getting to be busy. (MF Film)

Thursday, September 5, 2019

Before making the forty minute trip, I checked on line that the Talbot Islands State Parks were open again after yesterday's hurricane had move on. There was no mention that they were not, but when I got there, the gates were still shut. I was disappointed, but at least the trail to boneyard beach was open, so that's where I took myself. I was hoping for a roiling ocean surf, and high tide, but I discovered neither of those. The tide was out, and the ocean was quite calm. so I settled once again for portraits of long fallen trees that, in death, survived as relics longer than they had as living trees. I think they're wonderfully sculptural. (MF Film)

Tuesday, September 3, 2019

Hurricane Dorian has crept up the coast of Florida like an inebriated sloth, but the sea and sky ahead of its arrival has been visually very exciting. All the access points I had hoped to visit had been closed because of the storm, but these photographs were taken from the side of the road at Little Talbot Island State Park. (MF Film)

"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.