February 26, 2011 §
“. . . the swarm
And whirl-dance of the blinding storm,
As zigzag wavering to and fro
Crossed and recrossed the winged snow”
From John Greenleaf Whittier’s “Snowbound”
–Good poem for a day in Maine with a foot of new snow!
February 22, 2011 §
This has been a very heavy winter, and deep snow has accumulated on the roofs of buildings here in Connecticut. Some have even collapsed under the weight. Many others have had water damage, including the chapel at the school where I work. It seems odd that God’s building should have a leak, but it helps me understand that we need to work on maintaining both the body and the spirit.
More from this shoot on Flickr http://www.flickr.com/photos/ingallsgrove/sets/72157625937584135/
February 17, 2011 §
I had a few minutes last fall to stop by the railroad museum at Essex, Connecticut. I didn’t have a lot of photo gear with me, just a little Panasonic compact camera. But the light was great and the people at the museum were very welcoming, so it was a great half hour.
My grandfather, Art Wilkins, was a great railfan, and was president of the Railroad Enthusiasts back in the 40s. He was also a professional photographer. I inherited one of his cameras in the early 70s and have been photographing ever since.I went on several steam excursions with him and my grandmother, and have always been fascinated by trains.
There are more photos from this shoot on my Flickr site at
February 15, 2011 §
From the archives–I took this in about 1978 or so at a junkyard in New Hampshire. I was with my friend Dick Merritt, who taught photography at UNH. We both had SX-70s and enjoyed exploring the back roads for new sights. After years of working in the darkroom, it was amazing to have a camera that gave you a decent picture right on the spot!
February 13, 2011 §
I was photographing still lifes yesterday and decided to try the panorama setting on my camera. Because panoramas are long and skinny, they are mostly used for landscapes, but I like the way this came out.
You can see a few landscape panoramas at
February 12, 2011 §
On my lunch hour one day last week, I took my new Olympus E-PL2 to the chapel at the college where I work. It was very quiet and peaceful, and there was great light coming in the south windows.
Olympus E-PL2, grainy black and white art filter
February 9, 2011 §
Toycamera Analogcolor app and Olympus E-PL2 set to pinhole art filter
Many cameras now come with a built-in set of “art filters”–digital simulations of film-era processes that include such things as sepia toning, soft-focus, black borders around the images, and so on. On-line camera reviewers frequently dismiss these as merely gimmicks that are not worthy of the attention of serious photographers.
I disagree. The history of photography is full of techniques that served to both advance the art and to provide photographers with extraordinary images. And at times, many of these were dismissed as gimmicks. For example:
*The soft-focus lens–By creating images that were not highly detailed, these lenses created sensuous, idealized pictures that enabled photographers to go beyond hard, clear facts and express moods and feelings. Used around the turn of the last century, they were reviled as gimmicks by the next generation of photographers.
*Grainy film–By exposing and developing film more intensely than the manufacturer recommends, photographers can capture pictures at low light levels. This, however, increases the size of the microscopic grains of silver in the film, which creates a “grainy” or blotchy effect in the ultimate print. This was used often by photojournalists and subsequently was exploited by fashion photographers and artists to create a sense of journalistic immediacy in their work. Arguably, this was a gimmick when removed from its original intention.
From the very beginning of photography, it has been possible to make very highly detailed, crisp, clear images, which I take as the baseline from which almost any deviation might be described as a gimmick (look at daguerreotypes: http://preserve.harvard.edu/daguerreotypes/highlight1.html).
But photographers have also aggressively departed from this baseline throughout the history of the art. There were the soft-focus lenses; various forms of printing, such as bromoil, that reduced the sharp definition of images (see Vintage Pictorialism’s Facebook site for examples); deliberate double exposures; the use of plastic cameras with their distorting lenses; and so on. In fact, I would argue that even some “straight” photographs have a touch of the gimmick in them. Look (to hold up a real classic) at the perfectly black sky in Ansel Adams’s “Moonrise over Hernandez,” a sky that was dramatized by Adams’s virtuosity in the darkroom. (http://www.pbs.org/wgbh/amex/ansel/gallery/pop_ansel_08.html)
Any of these techniques becomes a gimmick when it is used to cover up a photograph that’s weak in the first place. But when they are used intelligently to create images that are strong and meaningful, then they are valuable aids to the art of photography. Rather than scolding camera makers for including them, we should hope that this new round of possibilities will find master photographers who use them to give us greater pleasure and understanding.
“The enemy of photography is the convention. The salvation of photography comes from the experimenter who dares to call ‘photography’ all the results which can be achieved with photographic means with camera or without.” –Laszlo Moholy-Nagy in The New Vision: Forty Years of Photography at the Institute of Design