John Voss - Photographs: December 2021

Friday, December 31, 2021

Sunday, December 26, 2021

Here are some photographs from near where I lived in New York that are all about winter in ways that are never represented here in north Florida. These were taken between 2006 and 2010 I think.

Tuesday, December 21, 2021

Yet another visit to Pumpkin Point on a cloudy, cool day in December. North Florida is what people sometimes think has typical Florida weather, but it's cooler and a bit less tropical than the southern part of the state which is the palm tree cliche perception.

Friday, December 10, 2021

It's been quite a while since I first photographed the tabby walled slave cabins at Kingsley Plantation. Once again, I could not quash the overwhelming sadness I feel coming here...these ruins had been the homes of enslaved Africans brought to this country in chains to spend their long, exhausting days working in the fields for the benefit of their 'owners'...a term I consider abhorrent, but all too real!! Here are four views of the cabin ruins and one of the ancient tree that must have been a gathering place for the community.

Thursday, December 9, 2021

In my post of December 3rd, I mentioned the Bach Goldberg Variations. Written for a contemporary keyboard instrument (probably a clavichord or harpsichord) they have been transcribed for string trio by Dmitri Sitkovetsky. There are some really excellent performances of that arrangement on YouTube, but in recognition of a frequent visitor to this blog from Sydney, Australia, I've chosen an excellent performance by members of the Australia Piano Quartet who are from....Sydney! 😊 (I am, by the way, a conservatory trained professional cellist, not a professional photographer) https://www.youtube.com/watch?v=L4ihxM4Pf-4&ab_channel=LOFTmusic

Saturday, December 4, 2021

I've photographed and posted quite a few images from this place...Cedar Point. My most recent visit was in late afternoon winter light with dead calm air and some wispy clouds...perfect!! ;)

Friday, December 3, 2021

"Anyone can take pictures. What's difficult is thinking about them, organizing them, and trying to use them in some way so that some meaning can be construed out of them. That's really where the work of the artist begins." Lewis Baltz

What I've quoted above is intriguing because I hadn't thought about the why of making photographs from that point of view.. I look for compositions all the time...images with or without a camera...and try to preserve what I've seen so I can continue to enjoy them and share with others either as prints or online. But, deriving or imposing meaning has never been a factor. I suppose it involves making the images fit into a project that can wear a title. It's a challenge to be free of an imposed theme before making the photograph, but creative enough after the fact to find one if one is there. I have to think about what's quoted above some more to even fully understand it in its several dimensions. I'm familiar with some very well known photographers whose images strike me as quite weak, but because they've put them in a book with an organizing principle, they're celebrated. I have no such ambition, but I am going to pursue this notion anyway and see where it takes me.

Bach's Goldberg Variations are brilliant, all in G major, organized and varied by tempo, but there is no meaning whatsoever; their storied soporific genesis is a lie. They're just deeply satisfying to listen to!

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"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.