Another giant is gone. Not sure what I can add to what’s been said, so I’ll quote from The Guardian’s great piece describing the life and importance of this truly mythical and amazing photographer who passed away on May 23rd. Here is the link and an excerpt from the longer excellent tribute that appeared that same day.

https://www.theguardian.com/artanddesign/2025/may/23/sebastiao-salgado-photographer-death-legacy

“It’s a testament to the epic career of Brazilian photographer Sebastião Salgado, who died this week at the age 81, that this year has already seen exhibitions of hundreds of his photos in Mexico City, France and southern California. Salgado, who in his lifetime produced more than 500,000 images while meticulously documenting every continent on Earth and many of the major geopolitical events since the second world war, will be remembered as one of the world’s most prodigious and relentlessly empathetic chroniclers of the human condition ….

Given everything that Salgado shot over his incredible six decades of work, it’s hard to imagine what else he could have done. Upon turning 80 last year, he had declared his decision to step back from photography in order to manage his enormous archive of images and administer worldwide exhibitions of his work. He also showed his dim outlook for humanity, telling the Guardian: “I am pessimistic about humankind, but optimistic about the planet. The planet will recover. It is becoming increasingly easier for the planet to eliminate us.”

It will probably take decades to fully appreciate and exhibit Salgado’s remaining photographs, to say nothing of grappling with the images he showed during his lifetime. One hopes that amid a period of increasing global strife, environmental collapse and threats to the mere notion of truth, this remarkable output will remain a beacon of decency and humanity – and help us chart a path back from the brink.”

Strangely enough I don’t own any of Salgado’s monumental books coving the human condition and our planet. I’ve seen exhibits of his work, but for some reason never got around to including him in my library all these years.  I’ve whiffed on a few of the great ones before and can’t explain why this glaring hole exists, but will now rectify the situation post haste! Don’t make the same mistake I’ve made. Get at least one of his epic books! Here’s a partial list for us to work from: Genesis; Amazonia; The End of Polio: A Global Effort to End a Disease; Sahel: The End of the Road; Kuwait: A Desert on Fire: Terra; Workers; and Migrations.

Stay well,

Michael

GAS is a horrible affliction. Believe me, I know. I’ve suffered with the malady for years. But I finally got over it, and phew … what a relief!

Constant thinking about what to use, what to get, and what’s best is gone and over. The result … no more indecision and a greater clarity of purpose, because I have determined what camera(s) to use for what purpose and what situation going forward. And with this there are no worries, just making pictures.

So what can you do to jump off the gear merry-go-round and end your own existential GAS crisis? I’ve wrote about this previously.  Here’s what I said.

“Why not start by considering the subject matter you really would like to photograph. If you can’t think of anything perhaps it’s best to stop here and call it a day. Once you have determined what you really want to photograph, then take a look at the gear you own and make sure it works best for the subject matter that you really want to make pictures of.  One thing to be careful about is not to get caught up in a romantic whim. It can lead to huge expenses and lots of incredible equipment that ends up gathering dust!

For architecture, a view cameras with movements is best. For landscapes where great detail and tonality is essential, then cameras that produce large negatives matter. Look, there are some people that do street photography with view cameras, but for the vast majority of folks we’re talking about 35mm.  In this case, don’t become immobilized over the issue of rangefinders vs. single lens reflex cameras. If you do, you won’t ever make a picture! Actually, this problem can exist with most formats, e.g., rangefinder vs. SLR (even in medium format), center tilt vs. bottom tilt, and camera size vs. weight. I could go on. In the case of street work I can honestly tell you I have used both rangefinders and SLRs and it hasn’t made a bit of difference in how I worked or in the results I got!

Great, now you have figured out what subjects you like and the best camera to maximize the results. What about the lenses? Think about how you see things. Start out with a “normal” lens and take it from there until you determine you really need more than that one lens to accomplish what you like.  With 35mm we are talking about a 50mm lens. For 6×6, an 80mm, for 6×7 a 90mm (Note these are approximations; Pentax make a 105 and a 90mm). For 4×5 a 150mm and 8×10 a 300mm. Keep it simple. The overwhelming majority of photographs I have made have been with a 50mm lens or near equivalent with other formats.

Nailing down all these time-consuming gear issues will clear your head and free you from self-inflicted paralysis. In short, it will make you happy and allow you to make the photographs you like!”

Please trust me on this. Define and de-GAS! Get off the gear merry-go-round now! Think about it. No more brochures on the night table to read before turning out the lights, or countless YouTube videos to watch, or the endless comparisons on the forums to study.

You’ll thank me … really!

Stay well,

Michael

About a year or so I wrote an entry called Dictatorship and Art … What’s At Stake? in which I discussed what happens to the arts in places with authoritarian regimes like Russia and Hungary. I warned about what would be at stake should Trump be reelected. And now the chickens are coming home to roost. On Saturday, the New York Times reported that “President Trump proposed eliminating the National Endowment for the Arts and the National Endowment for the Humanities in the budget he released Friday, taking aim once again at two agencies that he had tried and failed to get rid of during his first term.”

On Sunday, the Washington Post wrote “the NEA serves as the largest funder of the arts and arts education for communities across the country, primarily through grantmaking. The NEH helps fund humanities programs by supporting museums, libraries, universities, and public television and radio stations. Since Trump returned to office, he has enacted and proposed drastic changes to both agencies to fit his agenda for the arts, which includes extinguishing efforts to extend the reach of the arts to diverse communities and shifting funding to causes he deems more patriotic, including celebrations for the upcoming 250th anniversary of the signing of the Declaration of Independence.”

I’m all in favor of celebrating the Declaration of Independence, but at what cost?

He has already taken over the Kennedy Center. In short, this just one part of the playbook to stifle freedom of expression that differs from the Trumpian/MAGA view of what America … or should I say Amerika … should be, say and look like. Should this occur, it would a terrible blow to photographers, other artists, writers and all those that value the freedom to express and enrich their creative selves.

This followed the news on Thursday that Trump had signed an executive order to cut federal funding for National Public Radio (NPR) and the Public Broadcasting Service (PBS), accusing them of  “producing biased coverage and “left-wing propaganda.” This comes along with ongoing efforts to make universities tow the line, pressure public schools and intimidate the legal community.

All of this within 100 days of taking office. The implications are clear and frightening. Please don’t sit idly by waiting for the shutters on your cameras to silenced. Find out what you can do, and then do something!

Stay well,

Michael

I’m a very lucky person to live where I do. Doylestown is a wonderful small town that still does things like have annual donated book sales at the library hosted by incredibly friendly people. I got up early on Saturday morning so I could get at least part of my normal walk in and get a good spot in line at the library early before the doors opened at 9:15.  My next door neighbors who volunteer there had given me some good intelligence, so I was able to make a quick bee line to the very back of the room … and there they were! Usually I get a couple of nice photography books, but this year I hit the motherlode!

Once the books were in my line of sight I had to move FAST! The herd of other buyers was right on my tail, so I grabbed everything that looked interesting. And why not for only two bucks a book!  I got about ten or so, and a bunch of biographies and historical stuff apropos for the strange time we are living in.

The volunteers couldn’t have been more helpful, and soon five large bags of books were loaded into the car. The problem I have is I am running out of space in my library, so after examining my haul I had to move a bunch of biographies, autobiographies and other books about photography down to my work room, which is now running out of book space too. @#$%^&IO*!

I suppose running out of book space is not one of the worst problems one who loves photography books can have. For now I’m OK, but there will be a time, and I fear it’s fast approaching!

So what’s the point of all this other than to brag about my great haul? I’ve written a number of times about the value of having a great photo library. But I know quality books can be expensive, even when buying used. Over the years I’ve lucked out and found many great books at library sales and thrift stores. Today’s stash included several once very expensive books I’m now proud to own.  I can’t think of a better and more cost effective way to get your library going. And in the end if some of what you find isn’t your cup of tea after all, then donate back and let someone else enjoy them!

So start looking around where you live for these cheapo buying opportunities. You might be pleasantly surprised about what you find!

Stay well,

Michael

In the last two of my Basic Guide to Photographic Bliss and Making Better Pictures Periodic Musings I’ve discussed the learning opportunities that come from owning photo books and visiting museums and galleries to study paintings. It’s also essential see photo exhibits!

Last year, for example, I went to a lot of shows. Some were better than others, but I learned something from each one. Highlights included Vivian Maier, Robert Frank and Todd Webb and … no kidding … Paul McCartney!

Go to as many shows as you can. Why? Simple. You will be inspired by the works of the masters and learn many things. And now for something really interesting … when you go to photo galleries, you may well discover your work is as good or better than much of what’s being shown. That’s right. And not surprising at all, given the perceived need by galleries to show what is new and “hot”. Making this discovery should inspire you to press on and do even better work!

One of the greatest sources of information concerning photo exhibits, calls for shows and much much more is The Photo Review Newsletter. You can learn more about it at https://photoreview.org

Stay well,

Michael

Last time I talked about building a photographic library and looking at books. Now I want to talk about paintings. I’ve written here many times that we as photographers can learn a great deal from looking at paintings.  That’s right … paintings … most of which are in beautiful color!  I know, the vast number of paintings are not monochromatic (however there was a very nice black and white watercolors), so as black and white photographers, what’s the point?

Just to be clear, I’m no expert on paintings and those who have painted them, but I love to go to exhibits.  I’m lucky enough to live a few minutes away from the Michener Museum of Art here in Doylestown and I go there often.  I also have an easy drive to the Philadelphia Museum of Art and have become a frequent visitor.  I even go to New York, Boston and Washington, DC to see shows. The reason for all my visits to view the work of great painters is simple. As a photographer, I can learn a lot about light and composition from viewing great paintings. But that’s not all. I also learn a lot about presentation (horizontal vs. vertical), subject matter and perspective of view (think normal vs. wide angle or telephoto lenses).

A number of years ago I saw a wonderful exhibit of the great Bucks County painter Daniel Garber at the Michener. Garber has one of the most incredible senses of light I have ever seen and I have often taken students to the museum to see many of his wonderful paintings that are in its permanent collection. Why? Because as beginning photographers they can learn a lot about all the things I mentioned above!  But here’s the thing … you really need to actually go to see the paintings! You cannot get the full appreciation of the sense of light unless you are standing in front of their work!

Ok, so what about looking at exhibits of color photographs? Nah … not the same.  I feel differently about color paintings than I do about color photographs. Paintings seem to have a depth and luminosity that color photographs lack … especially digitally created ones.

Final thought … go and look at paintings … lots of paintings, but my favorites by far are the works of the impressionist masters. I’m a sucker for them. You want to learn about light … more importantly the feeling of light and composition related to light  … go see impressionist art!!

Stay well,

Michael