Several months ago I exchanged emails and a very nice phone call with a reader that was interested in my thoughts concerning the work of her late husband. While he was an accomplished photographer, she was finding it difficult for anyone to review and talk to about his life work. She told me that he spent endless hours in his darkroom to produce his black and white images, but was rarely interested in exhibiting, let alone selling his work. When he died suddenly and unexpectedly she was in a quandary about what to do. Now she was grappling with the intrinsic value of her late husband’s work.

This is a difficult issue if there was one! And as I have been thinking more and more about scheduling my visit to New York City to see the Vivien Maier exhibit before it closes I also began to think about my dialog with my reader. As photographers we all at some time think about the value of our work, be it monetary or intrinsic. For many this issue becomes consuming, especially as we get older.

The fact is that few of us will ever sell very much or get meaningful exhibits of our work. There are many reasons for this that go beyond the quality of the work. Most are oblivious to the realities of the art world and what’s necessary to overcome them, or simply refuse to try to do what is takes to overcome them. Many soldier on, frustrated and seeking affirmation of their work in some manner. Yet some do not seem to require this affirmation and Vivien Maier appears to be an example. During her life she made over 100,000 negatives and yet few knew she existed, that is until she passed away and her life’s work was discovered almost by accident.

I have met and known many photographers that require affirmation of their work through, sales, exhibition and other means. I also know many fine photographers that just don’t worry about it. Maybe they did before, but not now. This is where I am in my photographic life now, and to tell you the truth I feel so much better. I’m even starting to come to grips with what will or will not come of my negatives once I’m gone. What I care about, and what my reader was trying to deal with is the intrinsic value of the work … to us.  And that is what really matters isn’t it? For others, trying to determine the intrinsic value of our photography is a difficult thing. Not going to happen, and yet again, no affirmation.   But good work is good work, and good work that his personally meaningful is even better work! And that my friends can be very self-affirming.

Stay well,

Michael

A couple of weeks ago I took the train New York, then hopped on the subway to see the show, Paul McCartney 1963-64: Eyes of the Storm. What could I do … I’m a huge Beatles fan, so there was no doubt I would end up in Brooklyn! I had never been to the Brooklyn Museum of Art before and it couldn’t have been easier. The 2 Train left me off about fifty yards or so from the museum’s entrance. Nice, and once I had the logistics settled I walked a block or two and found a spot for a bagel and cream cheese. All good.

At the entrance to the show a quote from Sir Paul said “I’m not setting out to be seen as a master photographer, more an occasional photographer who happened to be at the right place at the right time. We were just wondering at the world, just excited about all these little things that were making up our lives.”  Well, there you have it. So the question is does famous make you good?

It turns out that in 2020 nearly one thousand photographs were “rediscovered” in Paul McCartney’s archive. All were taken with a Pentax 35mm camera he acquired in the fall of 1963. How do I know that? The signage on the wall said so, but what was really wonderful to see for all you gearheads (like me) was Paul’s camera in a glass enclosure, a well-worn black Pentax SV, sporting a 55mm f/2.0 Takumar lens. Yes, all of the pictures were made with one camera and one lens. Almost all the pictures were black and white, Tri-X being his film of choice. And how did I know that?  From the contact sheets on display, containing Paul’s markings!

Simple but incredibly effective!

None of the prints of the pictures he made of the other Beatles, George Martin and Brian Epstein, the many fans, the press, and the venues and streets in Paris, New York, Washington, DC and Miami made while touring were cropped. The pictures made in Miami were in color. All were either inkjet or chromogenic prints, the exception being four silver gelatin prints made in the darkroom.

The show was huge and also contained other photographs, including earlier ones of Paul’s family made by his brother Mike, as well as others by photographers such as the great Harry Benson. Included in the show was his famous 1964 picture of the Beatles having a pillow fight in their Paris hotel room.

So back to my question.  Does famous make you good?

In short, not in the case of Paul McCartney. He didn’t need to be a member of arguably the greatest rock and roll band ever to deserve a show in a topflight museum. In fact, I really think Paul could have had a pretty wonderful photographic career if that’s what he chose to do … but I’m sure glad he didn’t!

I don’t know if McCartney is a “genius”, but I do know he is an incredible and talented “creative”, who at age 82 shows no sign of slowing down. One of those that can do it all and do it all well. He’s a singer, songwriter, musician, author, painter … and yes a fine photographer! Frustrating for those that are prone to jealousy? Yes. Inspiring for those that aspire to be creative in their lives? Yes!

The Brooklyn show ended on August 18^th, but if you live in the US you can catch it in September through mid-January 2025 at the Portland Museum of Art and the De Young Museum in San Francisco beginning in March.

Stay well,

Michael

Despite the horrible drive, my trip to the Addison Gallery of American Art was well worth it! As wonderful as the Robert Frank and Todd Webb: Across America, 1955 show was, it was the sister show A Long Arc: Photography and the American South Since 1845 that turned out to be the real surprise! I’ll cut to the chase; it was a stunner!!!

Here is a partial list of the great photographers who’s images were represented in this tour de force of all things American South: William Henry Jackson, Louse Hine, Walker Evans, Dorthea Lange, Mike Disfarmer, Margaret Bourke-White, Emmet Gowin, Arthur Rothstein, Russell Lee, Edward Weston, Clarence John Laughlin, Eudora Welty, Louise Dahl-Wolf, Henri Cartier-Bresson, Marion Post Wolcott, Robert Frank, Lee Friedlander, Garry Winogrand, Danny Lyon, Leonard Freed, Gordon Parks, Elliott Erwitt, Bruce Davidson, Harry Benson, Diane Arbus, Burk Uzzle, Ralph Eugene Meatyard, Sally Mann, Alex Webb, William Eggleston, William Christenberry, and Nicholas Nixon.

I think you get the picture … no pun intended!

There were Ambrotypes and Albumen prints, Cyanotypes, Platinum and Silver Gelatin prints, Chloride and Chromogenic prints, Chromolithographs and more. The vast majority of prints were black and white, but there were also a number of color prints as you might imagine. As we marched closer to the present time many of the prints of course got larger. But in the case of this show large print sizes were not masquerading mediocre work!

There are a number of reviews online so you can get much more analysis of this huge and diverse star studded show. But suffice to say it was one of the best shows I’ve seen in a while … and that says a lot! In a way I was glad to have a long ride home to think about all of it. The Robert Frank, Todd Webb exhibit way easily grasped, but several hours into my drive I still could not fully get my head wrapped around all I saw … and experienced.

Like the Robert Frank, Todd Webb show, A Long Arc: Photography and the American South Since 1845 closed at the Addison Gallery on July 31^st. I don’t know if it is currently showing, but I see it will open on October 5th at the Virginia Museum of Fine Arts in Richmond, Virginia. I’ll be visiting my grandchildren there around that time. Maybe I’ll go see it again if they let me!

Stay well,

Michael

I recently read a terrific piece written by the great Dan Milnor entitled It Doesn’t Matter. You can check it out on his website at https://shifter.media/creative-it-doesnt-matter/.  In it he makes a persuasive argument that what really matters is the picture, not whether it was created by film or digital means, and those of us who think about or promote our work as film-based first are barking up the wrong tree.

Here is a portion of what Dan says and as much as I support film and all analogue processes I think he pretty much nails it.

“Speaking of today, all these years later, we still have people trying to sell us on their use of film. Let me be the first and last to say, “Nobody cares.” This is such an old, tired, dead story. The same can be said of those hyping the fact they made their photobook from iPhone images. There is NOTHING novel about this. NOTHING. If you are leading your conversation with your camera brand, or the fact you are using film, or that you are using an iPhone, you are screaming from the rooftops that you, my friend, are an amateur. (Nothing wrong with being an amateur but talking about this nonsense isn’t helping you.)

The vast majority, I’m talking 90% of all the film photography I see today, is subpar. Based more on the fact it was made on film than the light, timing and composition of the work itself. These essential building blocks of good photography often ignored entirely as the geeks orgy out over emulsion cliches. The vast majority of film work I see is static. Frozen. Derivative. …. Film photography has brought us the blizzard of mundane. However, before you go putting a nail in the coffin of film photography, there are exceptions to this rule. One of the best portrait photographers working in the celebrity space shoots film but you would never know it. He doesn’t talk about it. He just makes great work. He’s a professional. There are good photographers using film who focus on what matters; the work. Prosumers focus on materials. Pros focus on the take.”

Harsh? Yes. Accurate? Pretty much so.

I think the worst culprits are the technically perfect and/or extremely large black and white analog pictures. Both that are devoid of any heart and soul and are mediocre at best. I know this and so do you, and I can think of a number of photographers whose work falls in this category.

All the above having been said, does it mean black and white analog photography doesn’t matter anymore? Of course not!  It does matter for the many reasons I’ve discussed here over the years and continue to believe are true. Here are a few. The look and feel of the print that you can see into, the craft that goes into making it, the total effort it takes to produce great analog images in a world of digitalia gone mad.  Yes it matters!  But … what matters most is the picture itself. Is it meaningful to you? If not, it won’t be to anyone else who sees it. Does it speak to you? When you look at it does it make you smile, laugh or cry? Do you care about it? If not, well find another way to spend your time.

Think about it. I haven’t stopped since I read Dan’s piece.

Stay well,

Michael

I was lucky enough to take two of John Sexton’s workshops when I was much younger. Later, I would come down and visit with John when I had to be in Silicon Valley for business.  It goes without saying that John is a gifted photographer, but I can also tell you without hesitation that he’s a tremendous teacher and a lot of fun to be around. During one of the workshops John asked us if we would like to visit Ansel Adams’ home. Really? There I was standing on the hallowed ground in the holy temple that was his darkroom. And while I didn’t kneel down and kiss the floor, it was a profound and mind-altering experience I have never forgotten!!!!

While I haven’t seen John in some years we have stayed in touch and I always look forward to receiving his wonderfully informative newsletter. The above is apropos because the latest newsletter contains a marvelous and humorous essay chronicling John’s first day on the job as Ansel’s Technical Assistant. With John’s kind permission I am posting it here as I’m sure you will enjoy reading it as much as I have!  Thanks John!

If you would like to see John’s entire newsletter, you can do so here: http://www.johnsexton.com/newsletter07-2024.html Finally, if you would like to subscribe to John’s newsletter you can do it here: Subscribe to John’s Newsletter

MY FIRST DAY WORKING FOR ANSEL ADAMS 45 YEARS AGO!

It is hard for me to believe that 45 years have passed since one of the most significant changes in my life. This change involved leaving my home in Southern California, with my newlywed wife of two weeks, along with all our possessions to move to Monterey, California. The reason for this move was my employment status had changed.

On Monday, July 23, 1979, I started a new job as Ansel Adams’ Technical Assistant. I was both excited, and a bit nervous, when I pulled into Ansel and Virginia’s driveway that morning. I had no idea how our friendship and working relationship would evolve, and we had never discussed how long my tenure might be in this position. I could never have imagined the profound impact it would have on me as a photographer and on every aspect of my life. I certainly anticipated learning a great deal about the craft and aesthetics of photography, which I did, but I learned so much more.

In addition to his amazing talent as a photographer and printmaker, Ansel was a charismatic character. He was a dedicated, ethical, honest to a fault, and extremely hardworking. He strove for perfection in his photography and tolerated excellence. Ansel seamlessly combined his commitment for preserving the planet with his passion for photography. He used his photographic skills to convey his close relationship with, and respect for, the natural environment and the irreplaceable value of the wilderness experience. Ansel’s photographs came from his heart, and his mastery of photography came from a keen mind and decades of practice. These qualities together created a compelling legacy of images that still inspire legions of people today, more than 42 years after his passing.

My job included a variety of tasks, from putting out the trash on Thursday evenings to assisting Ansel on the largest printing project of his life, The Museum Set, and conducting technical research and testing for the revision of Ansel’s books, The Negative and The Print. Just over three months after I began working for Ansel full-time, I had the honor of assisting him when he made the official portraits of President Jimmy Carter and Vice President Mondale. We worked with both his 4×5″ view camera and the massive 20×24″ Polaroid camera.

In 1980, Ansel asked me to take over the directorship of his annual Yosemite workshops and to also be an instructor. This was a great honor, as my initial learning experience with Ansel was attending his 1973 workshop as a student—just seven years before and that experience had changed my life.

I am comfortable saying that Ansel and I had a wonderful friendship and working relationship. We spent countless hours together in the darkroom, and I had the opportunity to travel with him on many of his trips, helping with lectures, attending exhibitions, and assisting during book signings. At Brentano’s bookstore in New York City in September 1979 the line was so long it snaked around the block! A few weeks after I began, David Hume Kennerly’s iconic portrait of Ansel appeared on the cover of Time magazine—the only time a photographer has appeared on the cover of Time! His reputation then expanded to an even larger audience.

From time-to-time people have asked me what the qualifications were for being asked by Ansel to be his assistant. (I did NOT apply for the position!). Well, based on this Polaroid SX-70 it would appear that I satisfactorily met the following criteria:

– Beard
– Glasses
– Enjoy refreshing beverages (for medicinal purposed only!)
– Wear a bolo tie
– Wear a cowboy hat (borrowed for the photograph, but evidently that counts!)

(Sorry, this picture could not transfer from John’s newsletter. Please see the link above.  Michael Marks)

Ansel and John at Workshop Party in Yosemite
Photographer Unknown

Despite his fame, Ansel’s name and phone number were always listed in the phone book. Almost every day, a photographer would arrive at 5 p.m. with their portfolio nervously in hand, hoping to share it with Ansel and seek his honest comments. I remember the first time I visited Ansel at his home in September 1973. It was an amazing experience, and I tried to visit three or four times a year with new work as the years passed and our friendship grew.

Ansel was a wonderful and generous mentor. He had no secrets and loved to share and encourage others in their photography. He believed in my abilities as a teacher so much that he proposed I work a four-day week. If I worked five days a week, I would accumulate a week off every month. He wanted me to continue teaching my own workshop programs and those offered by the Friends of Photography, in addition to his own workshops.

One of the joys of the job was laughing and telling jokes with Ansel. Everyone who knew him well agrees that Ansel loved to laugh. It may have been a type of release valve for the intensity with which he approached his photography, environmental activism, writing, teaching, and many other things. Ansel often said his least favorite day of the week was Sunday–as he didn’t have anyone around to help him, so he couldn’t get as much done that day!

When I arrived at Ansel’s that first morning, I found a one-page letter on my desk outlining my new responsibilities. This humorous and cherished note served as my ‘job description.’ One excerpt reads, It will be a Godsend if things are put in their Right Places and so listed. I have all the “stock” to open a Flea Market!! The image was made as we gathered Ansel’s photographic equipment in preparation for our departure to his annual Yosemite Workshops, and might offer evidence to support his statement.

(Sorry, this picture could not transfer from John’s newsletter. Please see the link above. Michael Marks)

Packing for Ansel’s annual Yosemite Workshops
©John Sexton. All rights reserved.

After 45 years, I remain grateful for the wonderful experience I had serving as his assistant from 1979 until late 1982. When we decided it was time for me to go out on my own, and for Chris Rainier to take over as Photographic Assistant, Ansel proposed creating a new position for me as his Technical Consultant. Ansel and I continued to work on projects together, from time to time I processed film for him, and I tried to help him in every possible way while pursuing my own photography. I remained his consultant until he passed away April 22, 1984. Over the years, I have also served as Special Projects Consultant to The Ansel Adams Publishing Rights Trust.

Reflecting on the experiences I’ve had since receiving the unexpected job offer from Ansel early in the morning of March 15, 1979, I realize how fortunate I have been. This opportunity, combined with the privilege of pursuing my own photographic career and teaching photography for over half a century, makes me feel incredibly lucky. As Ansel often said, The harder you work, the luckier you get!

Stay well,

Michael

I nearly didn’t make it to the Addison Gallery of American Art on the lovely campus of the Phillips Academy in Andover, MA. As I was passing the outskirts of Boston, locking in bumper to bumper traffic with the temperature well into the nineties, all of a sudden a warning bell coming from my dashboard started ringing at ear piercing levels. That and a large warning light was flashing in front of me with a message that the oil pressure was low and the engine had been shut down.

#$%^&*%$^?!

Funny thing, although not at the moment, was that my car was still moving forward, same as everyone else locked in the scrum. Ok, no need to panic, that is not until the same light show and high decibel alert repeated itself two minutes later!  Better try to get over to the shoulder on the right side of the expressway. Only problem was I was in the middle of about four or five lanes, made even worse because cars were also merging on from a long access lane. I soon remembered why I hate driving around Boston … all those friendly and non-aggressive drivers!  After what seemed forever I finally was able get over to the shoulder and pull out the manual for my 2010 VW GTI.  Yeh, at fourteen years old and closing in on 180,000 miles I know it’s getting a little long in the tooth, but with a six speed manual transmission and lots of cargo space, it’s been a great road warrior and a friend. And besides, all the teenagers think I’m still cool when they see it!

After reading the manual and popping the hood to check the oil, all appeared to be as it should. I called my mechanic from my cell and he said as long as the oil level showing on the dipstick seemed to be ok than probably all was well. Yet, the prudent thing would have been to get off the road and find someone to take a look, but that’s not me. So I let things sit for a few minutes, then rejoined the traffic jam. Well, all’s well the end’s well and in about an hour I pulled up in front of the museum!  Spoiler alert … I did make it home without further incident and a couple of days later took my old buddy in for a scheduled oil change. Turns out it was down a half a quart. I hope it’s not a sign!

I had been to the Addison once before. It was as beautiful as I remembered it, and a must see if you are in the Boston area. I also had seen Frank’s work before, including a complete exhibit of The Americans. I also own a copy of his seminal book, so I was prepared for what I would be seeing … or so I thought.  I’d heard of Webb before, but to be honest, I wasn’t really familiar with his work. But viewing the two men’s work together made the Robert Frank and Todd Webb: Across America, 1955 show an unexpected surprise and a true revelation!

Both men traveled across America in 1955 for US survey projects made possible by Guggenheim fellowships, yet neither had any knowledge about the other’s work!  Webb did it by bike, boat and by foot, making over ten thousand photographs. Strangely his work was never published. Frank made a number of road trips, producing almost twenty eight thousand images, of which eighty three were selected for publication in what became The Americans.

The four gallery rooms contained one great picture after picture depicting people carrying on their daily lives, along with the buildings in which they lived, worked and socialized in. There were also roadside signage and other attractions and oddities seen along the way. While there were differences in their work, both photographers were attempting to refute the myth of 1950s America and show the inequalities that existed. Frank may have taken the ultimate photographic road trip across America just before everything changed forever with the Sixties. And perhaps Frank’s unvarnished view of America and American life may have been as significant as rock and roll, the counter culture and the rest of the fallout from the Viet Nam War in changing the way we looked at ourselves. Webb’s work, shows that what Frank captured was no fluke.

Seen together, Frank’s work seems to have more of an edge and a greater intensity to it. Webb’s work showing more humanity.  Seen interspersed together they capture a true sense of the time. In fact. you might think all the pictures were made by the same person who happened to occasionally change things up just a bit for a slight adjustment in point of view.

Almost all of the black and white photographs seemed to be about 11×14 in size, with a few being larger. Frank’s images were all silver gelatin prints. Webb’s were ink jet prints, made in 2023. Perhaps no original prints exist and for a show large digital printing makes things more convenient. I have no idea. Again, as was the case with the Fran Orlando show, the reproductions were first class. Yet another disappointment, but far outweighed by the opportunity to see Webb’s great work!

What a show! Needless to say I bought the book that accompanied it!  Unfortunately Robert Frank and Todd Webb: Across America, 1955 only runs to July 31^st at the Addison, so if you live nearby or are in the area I recommend getting there ASAP! I’m not sure what the show’s next stop is, but I see it will be about an hour’s drive from Doylestown at the Brandywine Museum of Art from February 9th – to May 4^th, 2025.

I’ll probably see it again!

Stay well,

Michael

One of Monalog’s members told me about an exhibit I should see and when he makes a strong recommendation I pay attention. I was able to visit the Roosevelt Project: Photographs by Fran Orlando exhibit on the last day before it closed at Bucks County Community College’s Hicks Art Center Gallery. Monalog had one of its first shows there and it’s a beautiful gallery.

During 1979-1980, Orlando photographed residents of the small town of Roosevelt, New Jersey. The town sprung to life in the 1930s as a New Deal project to relocate Jewish garment workers from New York City to the country. It ultimately failed as a social experiment but became a mecca for artists, writers and musicians.

The images Orlando made are sensitive and well seen. All were black and white and they were tastefully sized. Still, I felt letdown.

Originally the pictures were produced as silver gelatin prints and I am quite certain, they were wonderful. But sometime after that Orlando left the darkroom behind and forty five plus years later she felt they were part of the past. She felt times had changed as had technology, and she could not go back. So the original negatives were scanned and printed digitally.

I respect Orlando’s decision as an artist … it just makes me a bit sad. That having been said, I have to say that these are the finest digital prints I have seen, but that’s not really the point. Hot on the heels of my Russell Lee exhibit experience this was yet another disappointment. Not the magnitude concerning Lee, but a disappointment nevertheless. Why? Well, as good as the digital prints looked, they were not in my judgment what they could have and should been … that is what they originally were envisioned to be. Yes, technology has moved on and certainly it is easier to make a digital print than a silver gelatin one in the darkroom, but creating great art is not about easy … is it?

Just my point of view, and nothing I’ve said should take anything away from Orlando’s wonderful work … I just wish it had been presented otherwise.

Stay well,

Michael

A few weeks ago I drove to Washington, DC to see the exhibit Power & Light: Russell Lee Coal Survey at the National Archives Museum just before it closed. I left early enough that morning to beat the Philadelphia rush hour traffic, but had to endure the real mess that begins as you approach Baltimore. Nevertheless I got to my destination with a bit of time to spare so I could stay on schedule and beat the afternoon rush hour going home.

Russell Lee is best known for his Farm Security Administration work during the Great Depression, but this exhibit focused on images he made in 1946, just following the conclusion of a national coal strike.  The photographs were made primarily in Kentucky and West Virginia.  Along with pictures of the miners at work, what really stood out were those of miners and their families, at home, in church and at play.  From what I could tell looking at a picture of him accompanying the exhibit, they were made with a hand held 4×5 Crown Graphic, but I know he used Leica’s for his FSA work.

Here’s the thing, the pictures were great, but unfortunately they were displayed as overly large unframed digitally produced facsimiles. One was even cut out and wrapped around the top of a doorway.  $#%^&*! I’m sure many found this to their liking, but to me it diminished the importance of his work and the sensitivity of his vision. In short, the pictures, and Russell Lee deserved better … much better!  I think a far different approach … silver gelatin prints of sensible size would have yielded a far better result!

After the frustration of the Lee show I decided to take a flyer and swing by a camera shop a few minutes’ drive from the Archives.  Photo Pro was a go to for me when I lived in the area and they always had great stuff to tempt me. As I crossed Pennsylvania Avenue I just had a feeling there would be something special with my name on it!

The last time I was there, maybe ten years ago, I snagged a great Leica lens I thought I’d never be able to get, and this time there was plenty of wonderful goodies in the glass display cases.  After fondling a Leica M4 and Mamiya RB67 I noticed something you don’t see very often … an absolutely cherry Zone VI modified Pentax one degree digital spot meter!!!!  Yes, yes, yes!!! I already own two of them, but I had been thinking about getting another one to keep in a third camera bag … and there it was!!!  It even came with a wonderful and useful Zone VI leather holster, and the original box, complete with modification paperwork signed by Richard Ritter, who still calibrates the meters!!!

Not surprisingly, I had no choice, and a few minutes later I was all smiles as I began my drive home with a Photo Pro bag on the passenger seat.  What started with somewhat of a disappointment ended with a nice little surprise. The next day I gave Richard a call and arranged for him to recalibrate the new meter as well as my others. Good idea, since I couldn’t remember the last time I had them checked. A few days later off they all went. Hopefully they’ll be back in my camera bags this week. 

All’s well that ends well!

Stay well,

Michael