Awhile back I watched a wonderful film on YouTube called Looking for England that documents the great British photographer Don McCullin’s travels across the UK in pursuit of timeless images.  At one point during the film McCullin says, “ Photography has given me not so much an education, but a lifetime’s experience”. Exactly! I hit the pause, then rewound and then thought about it some more. Then I listened one more time and wrote down what McCullin said.

McCullin says hits the nail on the head and what he says mirrors my own feelings about photography and what I call living a photographic life.  I’ve written before how making photographs is a means to something much larger for me … the life experience that surrounds making them.  I’ll give you an example. I got a phone call about a week ago from a friend of mine who also happens to be my barber. The last time I was in to get a haircut I noticed a scene across the street that really excited me, but didn’t lend itself to a photograph … then … because there were parked cars obscuring the scene I wished to capture.  We talked about the whole thing until his next customer arrived and agreed he would call me whenever the cars were gone.

True to his promise he was calling to let me know the coast was clear; I should get over there ASAP!  Now that’s a tue friend, and this act of friendship for which I am extremely grateful was the result of my interest in photography.  Making the picture was very nice. What was really special was that someone made the effort and took the time to do what he promised knowing that it meant something to me.  People like that are the true keepers in life!

Photography does provide an education as you make your pictures over the course of a lifetime, but there’s so much more! It is as McCullin says it’s a lifetime’s experience.  My friend’s act of true friendship was just one of so many examples of important and wonderful life experiences I have had as a result of being out and about in the pursuit of meaningful pictures.

Another experience that will always be special to me occurred several years ago when I was in Philadelphia to photograph a famous parade. I arrived; only to have it raining as the big event was scheduled to begin.  Nope … a rain delay and I was starting to get pretty wet. What to do?  Duck into one of the many crowded bars or find something relatively dry to stand under?  Lucky for me I noticed a small rain protected spot that had attracted some Philadelphia police officers that were also waiting for the parade to start. Perfect!  I made a beeline over there and quickly introduced myself upon arrival. Ended up having a great conversation with them … for almost an hour! I asked a lot of goofy questions, like why are there so many different Philadelphia police hats, including my favorite – the zippy little number that looks like the top is folded down on both sides. I learned a lot and I had a heck of a good time chatting with them while waiting for the rain to finally stop.  I also managed to make a photograph I’ve subsequently exhibited and I am quite fond of.

That picture I made was not what I expected when I left my house for the parade but it turned out to be an unintended surprise and real keeper. I ended up having a great time with Philly’s Finest and got an important (to me) photograph to show for it.  The parade finally happened and was a lot of fun, but the results were not nearly as interesting or as meaningful as my found surprise and the experience I had that fine day surrounding it.

There are many other photography enabled life experiences I can think of. I consider myself truly lucky for all of these … and those I’ve yet to have!

Stay safe,

Michael

Not only was Wright Morris a terrific photographer, but he was also a gifted writer. While Morris is more known for his literary accomplishments, such as Field of Vision and Plains Song that won the National Book Award in 1957 and 1980, I am drawn to his pictures, which he has accompanied with words.

Morris pioneered the concept of the “photo-text” in the 1940s, combining his photography with his writing to tell a story. His photo-text books included The Inhabitants, The Home Place and God’s Country and My People.

The Friends of Photography published Photographs and Words in 1982; it focuses on Morris’ wonderful black and white photographs of rural scenes, interiors and found objects taken in the Midwest during the late 1930s through 1950.  This was an intense period of photographic exploration for Morris. After this time he focused mostly on his writing.  Too bad, but I imagine it is difficult to practice two crafts at such a high level at the same time. Or maybe, writing just became more important. So we don’t have a lot of Wright Morris compared to some of my other favorite black and white photographers, but I am happy with what there is. Almost like the Beatles … they really were not around for that long a period of time, but said what they wanted to say and that was it. Their music was great and I never get tired of listening to it … same thing with Morris’ photographs … I never get tired of looking at them!

Photographs and Words is really one of my favorite books. What makes this book so special is that you have both wonderful images from the American heartland, made at a time now long past, as well as a fascinating introductory essay by Morris that discusses his photographic life.  It’s amazing how captivating pictures of common objects such as eating utensils, the contents of a dresser drawer or old coats hanging on a wall become as a result of Morris’ acute vision.  In a time where almost everything is a disposable commodity, from the things we purchase, to the artifacts of our culture, Morris’ intensely seen views of the everyday from a simpler and in some ways better time rings true to me.  When I think about the times we live in and the selfishness of so many around me, I can sit down in a comfortable chair, open Morris’ book and be transported to that different time and place … and for a little while feel a little better.

Stay well,

Michael

I saw a quote by Ed Eckstein as I was preparing to write last week’s entry. I was going to include it, but on further reflection felt it was so important that it deserved a separate discussion. Talking about his wonderful Doylestown Hospital images he stated “I shot the project entirely in Black and White, which I feel is the true color of photography.” He went on to say “It enables you to see the emotional content of the photograph.”

To me these two sentences are profound and sum up well my own feelings about black and white photography, and black and white film photography in particular. When I make and see a black and white photograph I feel that I have reached into the essence of the thing itself. There is a directness and purity for me that I don’t find with color.  For me, color is for everything else … living my day-to-day life … and color can be quite beautiful, but I feel it can be like watching a series of postcards pass before me vs. viewing a beautifully shot black and white movie such as Woody Allen’s masterpiece Manhattan.

For some reason, when I look at paintings I get the opposite impression. In many ways paintings are about color and the choice of color(s) the artist makes to render a subject.  In the case of modern art, the work is only about the use colors (unless only one color used) their relationship to one and other and to space, and how color is used to somehow get across what the artist wants to say. The colorful world I see in painting … a different art form than photography … makes complete sense.

All right, you might say, what about photorealism paintings. Yes, I appreciate them and they’re in color, but still, they are not the same as photography. Color paintings strike me in a way that is similar to listening to my vinyl LPs played through tube electronics. In comparison, color photographs strike me in a way that is similar to listening to what a CD sounds like played through a solid-state transistor system. Wow, I think I just had an epiphany as I’m writing this!

One of my favorite photography books is the great Morley Baer’s The Wilder Shore. Baer used an Ansco 8X10 view camera for over fifty years to capture California’s farmlands, coastline, forests, deserts and buildings, usually in black and white. I said usually in black and white because in The Wilder Shore Baer displays both black and white and color images of similar subject matter. And while his color work is some of the best I’ve ever seen because of the great lengths he went to in order to make his color perhaps less colorful, when comparing the black and white and color images side by side, I am always drawn to his black and white pictures first. NOTE: I have written a longer piece on this outstanding book, including a description of how he made his color photographs. You can find it On My Bookshelf.  FURTHER NOTE: Do yourself a favor … find this book and buy it!

So I think what Ed said is absolutely spot-on. My own experience of over fifty years proves it to be true to me. Writing and posting here every week for over five years because I have a passion for black and white film photography proves it to me. The work of my Monalog Collective colleagues proves it to me. And Morley Baer’s great book along with the work of all the other photographers I admire proves it to me.

Thanks Ed!

Stay well,

Michael

Normally I would not suggest visiting a hospital unless absolutely necessary, especially during a pandemic, but in this case a trip to Doylestown Hospital would be a most memorable event! A couple of weeks ago I had to take my wife to the hospital for tests and ended up in the brand new cardiac wing (thankfully she is getting better!!!) and there before me on the walls were thirty nine incredible black and white photographs by Ed Eckstein that make up a permanent exhibit entitled Healing Images: A Doylestown Hospital Photo Essay.  I knew they were there, but had not gotten around to see them … a mistake now rectified!

Ed is a great photojournalist and documentary photographer who is also a member of the Monalog Collective. He also happens to be a great guy! It turns out that Ed was selected from over fifty photographers to document the many aspects of healing at the hospital, and the photographs chosen for the exhibit were drawn from over 4,000 images he made several nights a week during July and August 1997. Using his discreet Leicas and only available light, he became what he describes “a fly on the wall”, exploring the various public and restricted parts of the hospital looking for images to capture.

You never know where you will find wonderful photographs like Ed’s to see.  When looking for great photography where you live or when traveling, make sure to cast a wide net and don’t restrict yourself to galleries and museums. Do a little research and you might be surprised at the treasures you discover!

Another takeaway is the reaffirmation that subject matter sitting right in front of us that we often take for granted or completely overlook can yield powerful and emotional photographs. Openness to all that surrounds us can result real gems. As you’re out and about, be on the lookout for great images that fall outside your pre-conceived notions of what makes a good picture. Also think about projects focused on subject matter you might not normally consider important or photogenic. You might be surprised!   Looking at Ed’s wonderful photographs shows just how much opportunity there is to do great work if we’re open to the possibilities.

If you live in Bucks County, or are coming through Doylestown, check out this powerful and empathetic exhibit containing timeless images that really hit home!

Stay well,

Michael

Ta da … let the drums roll!

Is it true? Have we finally made it to the last step of my photographic process?

Well, the answer is YES! It’s been a long road for sure and this last step is pretty anti-climatic, but critically important!

Whenever I create the final print I usually make at least three or four of them. I do this for several reasons. I always want to have extras for sale or show, etc. and just in case there is a defect in the paper emulsion, I make a toning mistake, or one gets damaged somehow I’m covered.  Some may be mounted and toned, all ready to go, while others may be toned but un-mounted or un-toned and un-mounted. I keep each type in their own separate archival box and label the un-mounted print boxes for easy identification.

Right up there in the “nothing worse than” category is storing the work you have put so much time, effort and thought into in empty print boxes or other non-archival containers. Nothing!  I mean what’s the point of the whole exercise if you don’t want to maintain the integrity of your important photographs in the best way you can? In short, acid-free archival boxes provide best possible means to prevent dirt, dust and light, from attacking your photographs. Period! If your not storing your prints properly, don’t be a bozo and get some proper boxes!

In closing, I hope you have found this discussion of my photographic process helpful in some way. The point is not that you necessarily do what I do, but that you have a process that is manageable and repeatable, which enables the creative and quality results you want.  Having such a process will inspire you to photograph and to produce work that fully realizes your vision!

Stay well,

Michael

The other day I spent a couple of hours framing three prints for an upcoming show I will be part of along with the other members of the Monalog Photographic Collective (more on that to come!). Next to the picture itself, framing is the most critical part of what you are presenting to those who will see your work.

Everyone has his or her preferences, but to me I want something simple and clean that does not distract in any way from what is most important … the picture itself!  I’ve only used one frame and one frame size … Nielsen Style 15 black, 14X17 inches. If I remember correctly I read about this frame in one of Ansel Adams’ books some forty years or so ago. Good enough for him, good enough for me!  It’s truly a classic look and I can think of no better way to show black and white photographs.  The good news is that they are inexpensive and easy to assemble. You can order them from a number of suppliers with the pieces pre-cut to your exact dimensions and they come with all the necessary hardware to put them together.

The frames can be put together in just a few minutes. What takes time is to make sure there is no dust on your print or it’s over mat.  Finally, it is essential that that the glass (or Plexiglas, if you use that) is absolutely clean and dust free. Here’s what I do.  First I use a soft brush and make sure there is no dust or specs of anything else on the print surface or over mat.  Then I take an anti-static brush and go over both sides of the glass. Next I use Windex to remove any fingerprints or anything else on the glass surfaces. Sorry, if the glass is scratched you need to get another piece cut! After I have cleaned the glass with a lint free paper towel I brush both sides again with the anti-static brush and place it on top of the mounted print.  I look carefully to make sure I haven’t missed anything … even with all this care there may be a speck or two of dust under the glass … I wear cotton gloves to pick up the glass and brush away the last offending culprits!

When I am satisfied all is well I slide the print/glass sandwich into the frame and then attach the final frame section.  I then insert some thin metal spring-like strips between the frame and the back mat to keep everything secure and tight. Finally, I attach wire to the frame so it can be hung on the wall.  The choice of where you wish to sign your print … front or back … is yours.

So there you have it. We’ve come a long way together!  Just one more step to discuss – storage of mounted prints, toned un-mounted prints and un-toned prints in archival boxes.

Stay well,

Michael