US & Japan, Part 2

Recently I posted something on the homeless both here and in Japan, then I came upon an article on Boing Boing about suicide in Japan, which reminded me of a post I did some time back concerning the same problem closer to home. Perhaps not all too ironically, the most popular locale for said act in both countries are also popular tourist destinations- in the US, the Golden Gate Bridge right here in San Francisco, and "The Suicide Forest" in Japan with its scenic views of Mt. Fuji. Fortunately, after an estimated 2,000 leaps into oblivion, there are now plans on the books to finally install a suicide net at the bridge- the vast forest, however, is considerably harder to secure.

Who's Laughing Now???

America is going broke and the whole world knows it- except the Americans! The history books will remember 2008 as The Panic of 2008.

I posted on Gerald Celente back in January when everyone was too busy laughing at him- sterling reputation be damned!

The Discouragingly Good

I've posted on this phenomena before, photographers who make it look so easy, those rare and chosen few who are so goddamn good, that they are, in effect- thoroughly, totally humbling. The best of the best, they are beyond inspiring. They are "the discouragingly good." Those rare priceless shots that you take on your best day imaginable, they take on a regular, daily basis- no matter the assignment, no matter the light. And if that aint enough, they can do it in color, or B&W. Total, complete humiliation.

So you stand in the gallery space, mouth agape, reeling in the complete awe of the experience, scrutinize every detail in the book reproductions, gaze into the glare of the monitor in prolonged contemplation. And ask yourself, why, why even bother? Why do I even risk being seen raising camera to eye?

George Georgiou (who I found via Colin Pantall) is but the latest photographer that has struck this nerve in my retina. Jealous? You bet! God bless, long life and... thank you!

Travel

Make no doubt, I love to travel. Put me on something that moves, and if it gets me someplace I've never been, I'm one happy guy- even if it's someplace in New Jersey. Truth is, seems I get more good photographs from places not especially known for there beauty or grandeur. I get more keepers from quirky little, domestic side roads, than the most glamorous must see spots in all Europe- though there's no question where I'd rather eat!

Seeing new places just sets my mind reeling, all five senses and then some, all alert and firing. I'm looking through a child's eyes again in a heightened state of awareness that is both exhilarating and analytical, in other words- the perfect photographic state of mind.

Anyway, here are some other reasons people love to travel... And what I wouldn't do to have this guy's job- especially when "staycation" lies so prevalent on my horizon...

Stephen Dupont- Raskols

I linked to this incredible essay before (if ever there was a direct antidote for the "deadpan syndrome"). You can now catch more from this incredible series (and be sure to click on the left hand side to embiggen).

In the bag...

I don't usually discuss or endorse photo equipment here, a large part of the reason being that I own state of the art equipment circa 1995. But what to carry your equipment in- ahh, that's a different story. Unlike my latter NYC days, I usually bike my way around San Francisco, and that requires a backpack should I choose to lug my camera equipment. For those occasions, I use a Lowepro Micro-Trekker 200, a nice, portable solution for taking everything I'm willing to carry on wheels (or on foot for that matter)!

But backpacks, ever convenient as they are to transport your goods about, are absolutely useless for actual in street, on location shooting. You have to set the whole damn package down somewhere (preferably on the table you brought with you) just to get the item(s) of choice out safely, or risk having everything fall out and crash unto the sidewalk. And I can't say I'm really sold on the new twist and slide part shoulder bag, part backpack hybrid mutants that are also part nuisance, and all ugly.

The Domke F-3X shoulder bag had served me well for many a year, but I was curious if modern technology hadn't come up with something to replace that venerable ol' cinder block of a camera bag (stick your equipment in one, and that's what you got thumping against ya). Enter the Crumpler $6 Million Bag! The black model (returned their tan version because of its unimaginably vile, lime green interior) has brown siding (described for some reason as gun metal gray- definite problem with their color perception) and a (pleasing) tan interior. The feel of this bag can almost be described as plush, with its generous padding, custom velcro dividers, internal pockets, and sides that ingeniously fold inwards to protect contents from the elements. This bag is roomy enough to carry everything I'm willing to lug about on a day's outing, including: my SLR, a couple of lenses, strobe, Widelux F8, film, and accessories (ie- most everything I fit in the 200 above). I really do love the damn thing- only problem, these days can't afford to take her anywhere.

And although it also comes with a very usable shoulder pad, I heartily recommend springing for a Manhattan Portage Shoulder Pad 1001- comfortable, handsome and sturdy, but inobtrusive!

Macduff Everton

In all my twenty five years of looking at photographs in NYC galleries in the 20th century, I'll always remember Macduff Everton's prints at Janet Borden as being amongst some of the most beautifully breathtaking landscapes I have ever seen. Of course these miniature representations can't even come close to capturing both the subtle, and dramatic, qualities of light that help transcend a good number of his photos way beyond mere National Geographic illustrations. And the panoramic compositions can only be fully appreciated by viewing the actual prints. If you ever get the chance...

Andrew Borowiec

Probably America's most "undervalued" landscape photographer, I first became aware of Andrew Borowiec with his incredible Along The Ohio- an absolutely brilliant book (with excellent reproductions) that explores the backyards and small towns of that area in the post industrial America of the '80s and '90s. His landscapes, although bristling with all the tell tale signs and details of its inhabitants, are largely devoid of its occupants, lending an almost otherworldly eeriness to their everyday surroundings.

So it's with great anticipation that I read he is currently working on another long term project focusing on Heartland America- and goddang if his color don't look as promising as his B&W!

Colorless, not Emotionless

This incredible portrait by Rene Gelpi (the only one I could find) from an essay on Puerto Rican gang bangers in the 70's got me to thinking... Perhaps one of the reasons color portraits have de-evolved into "deadpan" (and worse) is partly due to the fact that color offers up so much more information when compared to B&W. The wonders of the color palette can serve to distract both photographer and viewer from the very subject of the portrait itself. Breaking the rules can always be put to advantage, it can also make one lazy. That is, why sweat bringing out the most from your subject when a nice backdrop of complementary or contrasting colors can pick up the slack and maybe even throw in a bit of irony juxtaposed against a semi-comatose subject? Again, it can work- to a point.

B&W by its very nature gives one less to work with, which in turn means that you really have to work it, or risk ending up with a bunch of monochromatic tonal values, and little else. No drama, no picture. Maybe the long rumored "B&W Revival" would also be the ticket to jump start its more colorful cousin out of its doldrums.

Reading The Fine Print (of the Drones)

As previously stated, the funny thing about UFO photos is that if they're blurry, "they don't prove anything," and god forbid if they're sharp- "they gotta be Photoshop!" A purposeful Lose-Lose all around.

It's been round about a year since these photos were first posted, and I have no idea to this day if they're real, authentic, whatever... But what I do find incredibly interesting is that after that same year, neither has anyone proven that they've been digitally manipulated- particularly in these days of such advanced digital forensics tools that can isolate exactly where and how they have been altered.

Also fascinating to contemplate is the contention on this site that the writing/markings found on these contraptions go well beyond the parameters of mere language...

Tamas Dezso

Ever walk into a gallery and just be flat out humbled by a photographer's work? I feel that way just looking at Tamas Dezso's work... online.

Not Quite the Bechers...

But definitely worth a laugh and a look all the same- and so's the rest of Roadside America for other countless, invaluable sights of wonder! May even inspire a photo essay or two...

Operation Northwoods

Fortunately, Operations Northwoods is a matter of official record, otherwise, eyes would be set to rolling should mention leave your mouth- you're not really buying into that c-o-n-s-p-i-r-a-c-y theory crap are you?

Why of course not, I believe everything in The Warren Commission, everything in the official 9/11 Commission Report, James Earl Ray killed Martin Luther King, Jr. and there's no such thing as global warming...

You think this present president would have turned that offer down?

Garret Izumi- Surreal Estate

Garret Izumi self published one of my favorite photo books well before self publishing became the click and paste domain of the internets. Surreal Estate is a brilliantly understated essay of 24 sepia toned B&W photographs, well reproduced on 4X5 paper complete with plastic spiral binder. The subject matter (suburban backyard LA) is so commonplace domestic, that it makes one marvel at how the simple, direct, no bells and whistles compositions really shine through. Short on equipment and post production, long on imagination and insight. All at ten bucks a pop- think a poor man's Henry Wessel (and that's no insult)!

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PS- Call of the Sirens (a delightful look at LA air raid sirens) aint bad neither.

Portraits of Violence- Stephen Dupont

Although these portraits were published in The Digital Journalist last year, I didn't see much buzz elsewhere on the internets about them, perhaps because they're black and white, perhaps because they just don't fit the current, aforementioned, zombie nation portrait syndrome. Ironically, the penetrating glares that these subjects convey could also be construed as vacant, yet these portraits by Stephen Dupont are some of the most powerful, disturbing, and beautiful I have ever seen...

Sarah Stolfa's (non-deadpan) Regulars

This article (brought to my attention last November on Christian Patterson's blog) proclaimed last year the year of the deadpan portrait, not that I have anything against contemplative or self reflective portraits, mind you- in fact, some of the work mentioned in the article (ie- Sander, Bey...) was a bit over reaching. But I have gotten a tad tired of subjects who repeatedly look like they need to be poked with a stick just to see if they're capable of human thought. So I began perusing the archives as to recent antidotes and came upon Sarah Stolfa's Regulars, bar portraits of singular character and integrity. Was therefore rather surprised to find a review from '05 that described her work as- deadpan! Hhmmm... Perhaps that term could best describe her technique (sit, look up, flash)- as opposed to the actual results, which I guess in '08 could be described as positively dynamic, next to the walking dead approach we've become accustomed to of late.

Jonathan Olley- Castles of the North

Sometimes certain pictures affect you, stay with you, haunt you (in a positive way). The really good ones have a habit of doing that, they resonate and touch something deep inside we can't always name or categorize- perhaps that is why we take photograhs to begin with...

As alluded to previously, I'll be (re)posting some of the "greatest hits" from my previous address occasionally, since I couldn't incorporate my archives. Jonathan Olley has a series on 20th century English citadels called Castles of the North, whose eerie presence I keep revisiting like some other life childhood trauma. Starkly beautiful!