General

My Deardorff and Being Prepared

I love cameras. If you venture onto some of the forums, you’ll find people telling you that the camera is just a box who’s main purpose is to hold the lens. And most of all it is the lens that matters. Probably true … but … for some … and I am one of them … there is something about using the camera itself as a key element of the photographic making process. The camera as a tool, the tactile pleasure … its use, a linkage to the greats that came before us, and the ones we admire today. I have succumbed to all of this, and it is not necessarily all that bad.

Several times the allure of the large camera has been overwhelming, only to fade away based on the results or other less tangible reasons … only to return again. I am a great admirer of Adams, Weston(s), Strand and other great large format masters and I have taken excellent workshops with some of the outstanding large format artists of our time … John Sexton, Michael Smith and Paula Chamlee. I’ve visited the temple and stood on hallowed ground of Ansel Adam’s darkroom (not sure I have ever fully recovered from that experience!!!!). Knowing that these and many more great photographers used these wonderful tools made me have to own them too … several times during my photographic life.

It was during one of those periods of weakness when the GAS was strong that I lusted after the great Deardorff 8×10. The history, the wood and nickel construction, the size… the opportunity to make contact prints. Yes I had to have it!

It was the Eighties. My Shutterbug magazine was delivered to my front door every month. Forget the articles, it was all about the mega classified section that seemed to make up about half of the printed pages of each issue. I scoured them. Remember when your local newspaper had a decent classified section? Every Friday, Saturday and Sunday I would look at the classified section of the Washington Post first, before I got to the front page, or even the sports section! It was a much different time … perhaps a better time, but I digress.

So I am eating breakfast on Saturday morning, but before leaving with my wife to do some important things I had promised to take care of with her that morning I look at the classifieds. There it was … “For Sale: Deardorff 8×10 View Camera” along with a phone number!!!!!

As my wife was getting ready to leave with me I made the call. He answered. Did it have front and rear swings … YES! Ok, breath deep … how much was it? Twenty-Five. My heart sank … not $2500, which was the upper end of the going rate. OK, another deep breath … do you mean $2500? No … $25! He explained it needed a little work and wanted it to go to a good home. I told him not to go anywhere; I would leave my house in 5 minutes. Needless to say my wife wasn’t all that happy as I ran out the door, scuttling our plans to buy another camera that was a 45-minute drive away. I didn’t deserve her then and probably still don’t.

I got there as fast as I could, rang the doorbell and out came an older gentleman. He showed me the camera and yes it was in need of repair, but certainly worth more than $25. I offered him much more, but I guess when I told him I worked for the government and he asked my age, that he realized the obvious … I must be poor! So he insisted I buy it for the stated price, and I promised I would return it to its former glory.

Next step was to get this beauty restored. After all it was manufactured in 1954, the year I was born. Surely a sign! After some research I found someone that specialized in bringing old Deardorffs back to life. So I sent it off and waited for its agreed upon return. In the meantime I signed up to take a workshop in Carmel with John Sexton and Henry Gilpin. These are truly two of the greats of the West Coast School – wonderful photographers and teachers (Henry sadly passed away in 2011)!

The Deardorff was supposed to be back to me several weeks prior to the workshop, but as luck would have it there was some kind of problem and it wasn’t going to be ready until I arrived in California … $#@!%^&!

I wasn’t going to cancel out of the workshop, nor was I going to take a 35mm along with me as a substitute for either a large or medium format camera (Henry made exquisite photographs with a Hasselblad that were often mistaken for large format images). So it was agreed that it would be shipped to my hotel in Carmel.

The second day of the workshop it arrived. I quickly unpacked it, but I had only enough time to barely savor the smell of the of the newly varnished wood or examine the perfect creases of the brand new custom made bellows … I was robbed of one of the most fun aspects of this passion — a proper and slow unboxing of a new arrival!

The Deardorff has a beautiful and sturdy large diameter metal plate on the bottom of the camera in which the screw of your tripod head or quick release attaches. I had my sturdy Gitzo tripod, lenses and loaded film holders with me. I picked up the camera at the hotel desk and left for the remainder of the day’s activity at the workshop. Everyone met at the lovely beach at Point Lobos, one of the world’s great seascapes. I had been there before with a Leica, but now I was going to conquer it with my Deardorff!

I was nervous, yet extremely excited as I began to mount the beast atop my tripod on the very beach that Edward Weston once stood. The anticipation was almost too much … until … the screw on my tripod head would not fasten to the treaded hole in the metal bottom plate of the camera … $!#@%^&*()_}+|}!#$@%^&!!

It was not to be; the threads were somehow stripped, and I was screwed (pun intended!). Needless to say I didn’t make any pictures. I did however learn a powerful lesson. Never venture out into the world with the hope of making something meaningful or at least having a meaningful experience without testing your equipment and materials (proper film speed and development time), and carrying extra batteries if you use them. In other words be prepared so you will have a fighting chance to succeed.

Suffering a major embarrassment was the least of my problems. What really hurt was the opportunity that was squandered on several levels.

I learned my lesson. So take it from me; always be prepared!

Slow Down and Choose the Extraordinary

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1966. Ok, I can admit being old enough to remember listening to a snappy little Simon and Garfunkel tune called The 59^th Street Bridge Song (Feelin’ Groovy) when it came out. The opening lines “Slow down, you move too fast. You got to make the morning last” are as appropriate now as they were then. Perhaps even more so!

Things haven’t changed, except that our daily lives seem to move at an ever-faster pace as we become more and more drawn into the digital/mobile phone/tablet vortex.

How do you create something meaningful to you … and perhaps others … and not just more noise? I really think this question is at the heart of the film/photographic process, and the desire not to be part of the maddening crowd.

I believe there is something special about thinking as much as possible about the picture you are going to make, whether you are using a 35mm, medium or large format camera. Snapping away at blazing speed, only broken up by stopping to look at the LCD screen on the back of the camera – affectionately known as “chimping” (not a very photographically appealing word!) – does not help!

You need to think about what you are doing and then let the creative picture making process flow – whether you are on the street, where you will most certainly loose spontaneity and miss great opportunities by constantly moving your head up and down to view the LCD – or whether you are making a considered landscape.

Yes, I believe the film/photographic process is slower and more deliberative. You are committing and connecting with subjects rather than firing off hundreds or even thousands of shots per day, hoping to later find a few “keepers”.

These are my thoughts and I understand why some might disagree, but I think working at a comparatively slower pace, where we force ourselves to think about proper framing and composition, lighting and exposure can really make a difference and lead to better and more meaningful photographs.

There is something else about slowing down. It enables you to have a fighting chance to see the extraordinary that might be missed, and often is, without a more considered approach. So give yourself that chance to choose the extraordinary instead of taking the obvious and boring shot everyone else has … besides, it’s already on the Internet and can be found a million times.

Of course I suppose you could turn off or tape over the LCD so you couldn’t look at it, and that’s fine. In my opinion you will become a better photographer … but I think in the case of black and white you will miss the look that film contributes to the finished result … and that too is extraordinary!

Being In The Zone

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I recently had to spend an extended period of time visiting someone in a cancer treatment facility. By accident I found out that on the premises was located a space devoted to “art therapy”. The person in charge was a professional artist who was almost spiritual in her approach to art and life.

Basically, the idea is that taking the time to make art, even if you are not very skilled, provides therapeutic benefits to the body and soul in many ways. In fact there is a growing amount of medical evidence to support this claim.

We had a very nice chat and it certainly provided a much-needed break from the many hours spent at the hospital under much less happy circumstances. I even tried my hand at painting a watercolor. It wasn’t very pretty (no surprise there!), but doing it gave me a lot of enjoyment. What I was being told and in fact was experiencing, was that this type of activity enabled you to “get into a zone”, far removed from the problems and stresses of your normal daily life. My wife, who was with me, smugly confirmed this notion based on her experience as a multi-talented quilter, crafter and paper artist.

All of a sudden, I realized something very important. I had that same feeling when being out in the world, away from the daily grind … making photographs … even if I made only a few, or none at all.

Think about it … you are away from all the junk, all the pressure; you’re not connected to your cellphone (if your smart!), or your computer. You’re out there on your own, thinking creatively and enjoying yourself, capturing images of the world that impact you and no one else. When this happens I am in “the zone” … and apparently a healthier and better one at that!

Aaron Siskind 100

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In my opinion Aaron Siskind was of the great 20th Century photographers. His primary focus was the abstract; his subjects were paint on streets and walls, portions of rock formations, sand, weathered objects and other found fragments that caught his imagination. Published in 1993 to celebrate the 100th anniversary of his birth, this is a stupendous retrospective of his life work.

In 2004 I was fortunate to see a major exhibit of his photographs at the great Phillips Collection in Washington, DC. If you ever get a chance to see his work, do it! I don’t think Siskind is exhibited nearly as much as some of the other Masters, such as Adams, Weston, Strand and Stieglitz, so the next best thing is to get his book if you can. Unfortunately it had a limited production run so it is out of print and somewhat pricy. I was lucky enough to purchase it when it first came out, but if I didn’t own it now and had to make a decision on how to spend my scarce photo book dollars, it would surely be at the top of my list.

The large reproductions of Siskind’s black and white photographs are beautifully printed, each on a single page, facing a page containing only the name of the image and the year it was made. Clean and elegant. His “Credo” that guided his work is also included as an introduction.

What is so important about this book is that it shows you that it is possible to produce deeply meaningful and personal black and white photographs in your own surroundings (another very different example of this is Paul Strand’s exquisite photographs made in his garden). Perhaps abstract is not your cup of tea, but Siskind proves that there are no excuses for not being able to go out make photographs wherever you are.

Look at this wonderful book and be inspired to get out there and be more aware of the limitless possibilities that lie before you!

Second Photo Chat Get-Together

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Let’s get together! Yes, how about getting together to chat about our photographs and the stories behind them. What was your intent in making the photograph, what were you trying to say, was it a success? If you made your print, were there any particular challenges involved?

This is not a discussion focused on gear — the idea is to share insights, get constructive feedback, learn a few things, relax and make new friends!

Well, if this sounds interesting and fun, how about joining me in beautiful downtown Doylestown, PA, in the heart of scenic Bucks County, and we will get together over a cup of coffee.

Photographers of all levels are welcome.

I think a total of 3-4 people is the right size. Bring only a couple of prints to discuss. Obviously the prints should be Black and White and should be film based!

The get together will be on Sunday, March 20th, 10:00-11:30am at the Zen Den coffee shop, located on ‪20 Donaldson Street, Doylestown, PA 18901.

Email or call me at 215-348-9171 if you are interested. First come first serve!

I look forward to meeting you!

Keep It Simple

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Ok, so we have discussed GAS. GAS occurs when you feel that you need to keep on buying things, or buy things for the wrong reason(s). This isn’t a discussion about GAS … rather it is about the woes of indecision and stress from having too many choices to make. The dreaded results of having too much stuff include missing a picture due to unfamiliarity with an underused camera, being waded down and made overly conspicuous by carrying much more gear than necessary for the task at hand, or having outright paralysis because you have too many choices to make. In the end you become frustrated and unhappy.

This is not to be confused with having the right tool for the job. Or as some people on the forums are fond of saying, “horses for courses”. For example, there are times for you when a rangefinder might be the right solution, and other times when a single lens reflex might be best. Depending on subject matter or circumstances it may come down to a decision to use 35mm, medium or large format size. Or to use a camera with movements verses one without.

What I am talking about is my belief that it is best to keep things simple concerning whatever outfit you have or are using. That means generally one camera for the task at hand (it does not mean you shouldn’t own a back up in case your main camera breaks or falls into the lake), and only the lenses you need, verses all those you think would be great to have, or all the focal lengths the manufacturer makes! Ok, for certain applications I can see the value of having more than one camera, each with a different lens … or I know … one for color and one for black and white … but I hope you get the point.

I really believe that those who are less caught up with the need to carry an over abundance of gear – particularly lenses, have more time to concentrate on capturing the best picture instead of trying to figure out what is the best lens to use at any given time. Truth be told, probably more than 90% of my pictures have been made with a 50mm lens or near 50mm lens equivalent in different formats. But even so, I have owned more than one focal length for my outfits, because the other lenses do get used when necessary, albeit not as nearly as often the “normal” lens.

Think about this — using the 50mm, it only takes a few steps forward or backwards to get the equivalent of a mild wide angle or mild telephoto lens. In your case with the way you see the world, it might be a 35mm lens moving forward a few steps to give the view of a 50mm when needed. Entire careers of great photographers have been built around these two focal lengths or their equivalents. In any case, the point is to know your equipment, be familiar with what it can do so you can be free to concentrate on what counts – capturing the vision you have when you decide you want to make the picture!

Does Size Matter?

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Short answer — it does, but only to you, because it’s your picture. That’s right, but make sure the size you make is done for the right reasons. Very large prints are trendy now, but almost every time I see them in exhibits I am overwhelmed by the size and underwhelmed by the content. That is because what seems to be on display are large images of boring subject matter, many of which I believe wouldn’t get a second look if they were smaller in size.

This realization was really brought home to me as a result of two shows I saw over the past several years. The first was a very nice Edward Weston show hosted by the wonderful Michener Art Museum, located where I live, in Doylestown, Pennsylvania. The second was the recent stupendous Paul Strand exhibit mounted at the Philadelphia Museum of Art. None of the Weston prints were larger than 8×10 because he only contact printed his large format negatives. With Strand, most were no more than 8×10, with many being much smaller, and the remainder not much larger than 8×10.

These prints forced you to stop, get close and look at them. You had to really study them to discover their secrets, rather than just walk by each mammoth print some ten feet way.

So I think a small print really has to stand on its content, but just as importantly it draws in the viewer and compels him or her to really concentrate and think about what is going on in the image.

Now be brutally honest with yourself; are you making really large prints because you have been conditioned to think that what’s in? And while large size will get attention, does it mask content that wouldn’t get a second look in a more intimate size?

And don’t feel compelled to make really large prints because you are using larger negatives. Negative size should not determine print size because of the available higher resolution.

The vast majority of prints I’ve made have been on 8×10 sheets of paper, which means they are actually smaller than that. There have been a relatively few made using 11×14 paper, based on vision and/or use of a square negative.

So only print those photographs that you believe really have something to say … and when you create the print that captures your vision, make it the size you think works best for that image.

First Photo Chat Get-Together

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This is not a discussion focused on gear — the idea is to share insights, get constructive feedback, learn a few things, relax and make new friends!

Well, if this sounds interesting and fun, how about joining me in beautiful downtown Doylestown, PA, in the heart of scenic Bucks County, and we will get together over a cup of coffee.

Photographers of all levels are welcome.

I think a total of 3-4 people is the right size. Bring only a couple of prints to discuss. Obviously the prints should be Black and White and should be film based!

The first get together will be on Sunday, February 21^st, 3:00-4:30 at the Zen Den coffee shop, located on ‪20 Donaldson Street, Doylestown, PA 18901.

Email or call me at 215-348-9171 if you are interested. First come first serve!

I look forward to meeting you!