This week I start another semester teaching two photography classes at Delaware Valley University’s Center for Learning in Retirement. I also teach another class on a completely different subject and continue to work for myself.  Then of course there are the children and the grandchildren to see. In between all of this I find time to go out to photograph and make some prints of the keepers. Occasionally I’m able to listen to some music, which is another lifelong passion. All of which means I’m probably a little bit nuts! My wife tells me that with more frequency and she’s probably right. And speaking of insanity, there’s the puppy we got that turned our lives upside down this year.

The problem is I gain a tremendous amount of satisfaction from living a somewhat insane life.  One thing that gives me the some of most satisfaction is teaching my course called Living a Photographic Life. I’ve discussed this before. It came about as a result of the first entry I wrote for this site. The idea is to find things to do in order to keep our heads in the photographic game when life conspires to keep us from making photographs. But there’s another useful reason to go to all sorts of art exhibits, go to libraries and used bookstores to find great monographs, and get on line to discover a treasure trove of information. The reason is that we sometimes need a creative spark to reignite an interest to actually go out and make photographs.

So I love teaching this course for a number of reasons. I see my students learn new things and broaden their photographic horizons … or in some cases develop horizons that never existed before. Then there is getting them to go out to make photographs and have them printed so they can actually see what they look like instead of merely viewing them on their phones or pads. None of my students use film or go near a darkroom. But that doesn’t matter to me. All that matters is that I’m getting them excited enough about the possibilities so they will go out and do something.

What about you? I’ve discussed the value of a photographic project if your interest is waning or your just stuck. But I know there are some that can’t even do that in order to get motivated. Better to wait for the exotic trip next year that’s thousands of miles away. Ok, I can’t get in your head, but how about try keeping it in the game to continue learning and stay interested? Just perhaps something might spark your desire to pick up your camera, load some film into it and go out photographing.  Who knows, you might get inspired to find the time to go out again and even make some prints!

I’ve come to know a number of my students and have gained a tremendous amount of satisfaction from seeing what has resulted because they kept their heads in the game.

There’s a lot to see and learn about. Take the time to do it. You might just enter a new and rewarding creative phase!

I recently wrote an entry about needlessly overspending on gear.  It got me thinking more about the gear issue and the obsession we often have with it.

Do you ever find yourself thinking more about your gear than the actual making of photographs? Or when the time comes to actually go out and make some photographs do you agonize over which camera or which set of lenses to bring? Are you spending inordinate amounts of time conducting Internet research on what others think about a particular camera body, lens or brand vs. something else?

Am I talking about you?

We all need to simply our choices … for years I had only one camera with a fixed lens attached to it. After my Plaubel Makina 670 developed some well-known problems I sold.  After that I experimented a lot.  During this time I made many pictures I am proud of but in hindsight I wasted an undue amount of time doing more thinking about what to get and why to get it instead of doing what was really important … getting out and making photographs.  Looking back, I could argue that having only one choice made things considerably easier and allowed for greater concentration on what was most important. It certainly created less stress!

Now, whether it really is best to be limited to one camera and one lens is certainly something that can be debated, but the point is to do what you need to do in order to determine what you need to make the type of photographs you are interested in making. Brands don’t matter, negative size may not be critical if you don’t make large prints, exotic focal lengths are superfluous and of course the never-ending argument over rangefinders vs. SLRs is just that – an argument.

Recently I have been switching off between my Leica rangefinders and SLRs for street and environmental photography with no issues to report. Did the Leica SL’s shutter disturb my subjects? No. Did the rangefinder prove less effective in capturing architectural detail? No. If given a choice do I care what I use for a particular subject? Yes. If I don’t have it will it prevent me from making a good photograph? No.

It’s just easier to think about gear acquisition and the many surrounding philosophical issues; and of course more thrilling to hunt the gear down, than what is most important … making photographs. GAS becomes the means to the end … more and more neat and ever costlier gear.  I know people with plenty of equipment of the highest pedigree that make few if any photographs despite their best intentions to do so, and when they are finally ready become panicked over what camera, what lens and/or what film format to use. News flash – it won’t matter! If you haven’t taken the time to become familiarized with what you own the chances of making a true keeper when you finally get out there are next to zero! Ok, perhaps HCB or Strand or some of other giants could. We can’t.

Bottom line. Do what you need to do to find out what gives you the results you want. Start with one camera and one lens. Don’t get another lens unless the one you have precludes you from making the types of photograph you want to make. Normal, mild wide and short telephoto lenses are all you need for almost any situation you are likely to encounter. Having an M3 will not make you HCB. An M4 will not make you Winogrand, and having a Nikon won’t transform you into Pete Turner. Find out what camera and lens is most enjoyable for you to use and enables you to do what you want to do.

Once you have made your format, camera and lens decisions, please get some film and make some photographs!

The weeks leading up to summer are always very exciting. Sort of like the football offseason.  During the offseason anything is possible for your team. The draft is coming up, there’s free agency and of course it’s a level playing field because every team has the same record … 0-0.  Yes, everything is possible, even the Super Bowl! Last season for the fans here in Bucks County and of course across the Philadelphia area that’s what happened! The run-up to summer always has that same feel for me. It’s very exciting. Lots of plans, and lots of to dos.

I always think I’m going to get a lot of photographic things done during summer and I always want to. Maybe it’s because most of people I deal with on the work side of things decide to go on vacation. Because I work for myself I have some flexibility and now more time on my hands. More time; less cash. It’s a trade-off. You take the good with the bad.

Sometimes it’s easier to let things slide then to get work done.  This summer the problem was compounded by the recent addition of our puppy Sparky. Note to self: don’t get an eight-week-old puppy during the winter months. Sparky is a Cockapoo, and while small in size, both his personality and energy level is large!

The above having been said I do feel like I accomplished many of my objectives and there still is Labor Day weekend to go.  I saw some great shows, heard a wonderful curator talk, and equally wonderful talks given by Michael Smith and Paula Chamlee. Even got a chance to meet Paula for coffee! Entered some of my favorite photographs in a very prestigious international photography competition and most importantly made a good amount of photographs at some interesting locations and events nearby that were on my list. Philadelphia’s Chinatown and Italian Market, Seaside Heights on the New Jersey Shore, the 70^thAnnual Middletown Grange Fair here in Bucks County, and a number of other local targets of opportunity such the annual Doylestown At Dusk vintage auto show.

Of course this has led to a pile of Plus-X and Tri-X film canisters on my enlarging table; their contents waiting patiently to be developed and proofed! Ok, I’m human. Actually, I don’t like developing one roll at a time, or even a few. Rather, I wait to I have maybe ten rolls or more. Then I knock them out en mass with my larger Jobo tanks. Same thing with proof sheets. Remember these are purely mechanical tasks. The creative work begins when I examine the proof sheets.  Just like the offseason, everything is possible … they all looked good in my mind’s eye, so here’s hoping there are some keepers!

All in all not a bad summer, despite some distractions … yes that’s includes you Sparky!

I hope you have had a great photographic summer and wish you the best for keeping its momentum going for the rest of the year!

This past week I was lucky enough to attend a joint lecture and slide show of photographs given by Michael Smith and Paula Chamlee at the Michener Art Museum (also on exhibit and discussed were Paula’s beautiful paintings).  I know Michael and Paula and saw an exhibit of their work that was part of the currently running View Finders: Four Photographic Voicesshow I recently wrote about.  Even with my familiarity it was one of the most informative talks I’ve had the opportunity to hear. They presented a great distillation of their approach to photography and what is important to them for making great images.

If you are unfamiliar with their work you need to check out their website (http://www.michaelandpaula.com) or their many beautifully printed books. Of course it’s best to see the real prints. Their photographs are beautiful and the print quality is incredible! Both use large format cameras and primarily contact print from 8×10 (Paula) and 8×20 (Michael) black and white negatives using their own Lodima silver chloride contact paper (they have done some color work, scanning the negatives and printing them digitally).

I thought it would be instructive to share some of the highlights of their presentations. Let’s start with Michael.

• An important point of photography is to have an experience; it’s much more than just clicking the shutter. Their way of working is quite the opposite of the digital capture routine.
• Neither he nor Paula worries about what time of the day they make photographs. Photographs are made whenever they present themselves.
• Always be aware of the spaces in the photograph using the edges and the corners to define the boundaries.
• Everything in the photograph is important and must be in the right place.
• When photographing people with the view camera everything and everyone has to be in the right place at the right time; you have to wait for the right moment when everything relates to one and other as you only have one shot.
• When photographing he has no preconceptions and never has any idea of what he will photograph.

Now Paula.

• You don’t have to travel to exotic places to photograph; you merely need to look in your own backyard.
• Seeing the upside down image when looking through the ground glass of the view camera was her most important photographic discovery.
• She searches for spatial ambiguity and focuses on the rhythms of spaces and lines.
• The only thing you need to know as is photographer is where place the edges when framing the photograph; then how forms fit into space and the tension of how they fit into a rectangle.
• She doesn’t worry about what things are, but rather how things will look.
• You never know where your next influence will come from.
• Whenever she and Michael travel they search out and visit local museums to absorb visual information.

Think about what Michael and Paula said and make your own wonderful photographs!

I know that websites, blogs and YouTube videos that focus on gear are much more popular than those which discuss thinking about and making photographs. Like the one you looking at now. I get it. I don’t really want to discuss gear that much. A little while back I talked about having recently purchased two older lenses to use for some very specific purposes. Now I want to follow up by saying that you are wasting your money in most cases if you buy new gear … or expensive used gear, e.g., certain Leica.

Stop laughing for a moment while you ask what’s the point; you think very little film gear is being produced.  Wrong … new gear is still being made. Especially lenses, but some cameras too.

My point is never pay full price when people are always willing to sell what they have so they can buy something “better” or “newer”, which they are convinced will make them better photographers. Or kids just selling off Mom or Dad’s dusty old camera and lens in its leather case on eBay or Craigslist.  That little outfit could become your new best friend!

The fact is there simply is so much great used gear … much of it wonderful film bodies from the golden age of camera building … in virtually pristine condition that you are a fool to pay top dollar for something you don’t really need.  The only reason I can think of buying new is to have a warranty, and in the case of Leica, if you feel you need to have the latest uber expensive bodies and newest lenses. Will they make you a better photographer by owning them instead of an M2/M3/M4, or M6 if you need a built in meter, and a more vintage Summicrons? I don’t think so.  Will the image quality be dramatically improved? The latest designs and coatings may give you some added resolution wide open and slightly improved edge to edge sharpness, especially if you feel compelled to make larger prints. But think about all those defining images made by Cartier Bresson, Frank, Smith, et al. and look at what they used.

Yes, I know I own some lenses that have now become some outrageously expensive. Fact is they were all purchased used and were screamer deals. Otherwise they never would have been bought. But are they really better than the older and less expensive versions, or even other brands for what matters to me?  I’m not really sure.

In all my years of camera/lens ownership I’ve never had a major repair.  That doesn’t mean I haven’t had a CLA done on used Leicas I’ve purchased.  All of them have had it done by either Don Goldberg or Sherry Krauter, which means they will last longer than I will!

So here is the real opportunity. Think of this as a chance to acquire fantastic vintage mechanical gear, often built by hand in ways that perhaps can only be matched in construction and feel by the current Leica MA or MP. In 35mm, think older Leica in less than mint condition. I think non-metered Nikon F or F2s, or Pentax SVs are spectacular. Beautifully unadorned viewfinders to compose your image without the distraction of needles, or worse yet, blinking lights! And the lenses that were made to go with these wonderful bodies are no slouches either and can be picked up for a song. Think of the somewhat rare but still relatively inexpensive Pentax 50mm f/1.4 eight-element screw mount job. Depending on condition, they go for $150-$250.  Too much?  Then try the seven-element version that followed its production. They can be had for less than $75 and may be nearly as good.

No distractions. Simple, elegant, effective, and inexpensive. Think about the possibilities. With your savings you can purchase a serious amount of film, buy lots of paper and outfit a darkroom. How’s that for an idea!

Bucks County and the surrounding Delaware Valley is a fertile environment for fine photographers. Last week I went back to the James A. Michener Art Museum to see the exhibit View Finders: Four Photographic Voicesagain before it leaves town and to hear an excellent talk given by Liz K. Sheehan, the show’s curator.

The exhibit features the work of area photographers Michael Smith, Paula Chamlee, Catherine Jansen and Brian Peterson.  I very familiar with Smith and Chamlee’s work, as I have taken their workshop, assisted Michael with printing and have come to know both of them well. I had not seen Jansen’s or Peterson’s photographs before, but had heard about them, especially Peterson, who besides being a fine photographer had served as the Michener’s chief curator from 1990-2013.

Most people are familiar with Smith’s landscape work. In this case, the focus was on portraits made with the 8×10 or 8×20 view camera and displayed as contact prints.  For Smith every millimeter of the photograph matters. It’s all about tones and the rhythm and placement of objects and shapes, as well as tiny portions of the scene that can be the most significant element of his image.

Paula Chamlee uses an 8×10 for most of her work and also makes contact prints. Like Smith to whom she is married, she often views the world in terms of abstract shapes and is concerned with the balance of tones and relationships of the shapes she sees. Smith and Chamlee often photograph in the same locations, but their work is distinctly different.

Much of Brian Peterson’s work was mysterious in nature. According to Sheehan a major area of his focus is on the metaphorical, especially concerning light and water. Images were both analog and digitally based.

Most of the work displayed by Smith, Chamlee and Peterson was black and white. Mostly film based and darkroom printed. Catherine Jansen’s work was the complete opposite. Massive color rectangular panoramic images created in India. Produced by stitching together many related pictures of the same subject and its surroundings with the aid of Photoshop.

All the work was fascinating, but I left the museum thinking as much about the nature of photography today, as much as the pictures I saw.  The question beyond analog vs. digital is what really constitutes a photograph. I mentioned this to Ms. Sheehan after her talk and she agreed that it certainly is an issue for consideration.  What forced me to think about this was the work by Jansen. There’s no hiding the fact by the artist or curator that the final images constructed. They simply wouldn’t be possible without Photoshop.  However if you were not made aware of this you might never know.  Powerful in many cases … yes … photographs … I am not so sure.

Yes, I know almost all photography is a departure from reality in some way. Cropping, burning, dodging and perhaps bleaching as necessary to create a powerful photograph in the darkroom.  Just look at Adams’ dramatic and majestic image Moonrise, Hernandez, New Mexico.  I have seen an initial pilot print and various printings of the image that became more brooding over the years.  Nevertheless, the picture remains the magical singular image that Adams first witnessed in 1941.  To me it is very believable … and yes … very real.

Art can be many things.  It takes vision, technique and talent to be able to create images that visualize “sacred storytelling” as Jansen has done.  I know I couldn’t possibly do it.  But I wouldn’t want to. I like to make photographs that capture what I saw in my mind’s eye.  I also do not wish to alter the component pieces within the image space I am printing.

When I look at photographs I want to feel confident I am viewing a picture of something that really happened or exists in nature. While many digital photographer/printers are honest about what they are creating, I worry that many will hide the facts about what they have created.

It’s time to think about the real differences between analog photography and digital work and call them something very different, because in fact they are very different. Let’s do that and be done with it!

View Finders: Four Photographic Voices is a show worth seeing.  It runs through August 26th at the James A. Michener Art Museum.