While Alberto Placido’s commercial work focuses largely on architecture it’s his personal work that explores the natural world that I find most appealing.
The image above is the first image in the Inscape series. I have particularly enjoyed look at the work that deals with the coast (perhaps not too surprisingly), the very dark images of the ‘Invisible Landscape’ with highlights of white from the sky or breaking waves reminded me of my own pre-dawn visits to the coast, while those of ‘Between Sea and Sky’, such as the one below, give the sense of standing on the deck of a boat looking out at the ocean.
Alberto’s video below is interesting and I’d love to see the still images that came from this trip.
Any guesses where this photograph by German photographer Peter Schlör was taken? Any of my British friends recognize a popular summer holiday destination?
I recently came across Peter Schlör’s book ‘Black and Wide‘, a collection of very moody black and white photographs that if you’d told me were of the Pacific Northwest I would have believed you. But no, they were taken on the Canary Islands. I couldn’t believe it. When I think of the Canary Islands I think of it as a summer destination, the ocean, blue skies & bright colors. What you’ll find in these pages are images with very dark shadows, trees, fog and low clouds. It’s an amazing transformation. I’m looking forward to finding out more about Peter’s work.
I was pleased to find the video below of Peter and the team getting ready for an exhibit of the Black and Wide images but very disappointed to find out that it was all in German. Anyone able to help out with a translation?
In any case, it was interesting to see how the images were prepared for exhibition. This is one of the things that you miss out on when looking at images in a book, the scale of the final prints. It was interesting to see what an eclectic mix of sizes and presentation styles that were used and it makes me wonder why he made the choices he made. Worth a look even if you don’t speak German!
When I was poking around on Bainbridge Island recently I did a quick tour of most of the interesting shops on the main drag, Winslow street. I wasn’t looking to buy anything, my bags were perilously close to the 50lb limit imposed by the airline as it was, but rather looking. Looking for inspiration, looking for things that I could use later. In Bainbridge Arts & Crafts I came across a book by Mary Randlett called Landscapes that I thought was amazing.
Mary’s photography came to the notice of the public as the person who took the last photographs of the noted poet Theodore Roethke. She then went on to photograph Roethke’s students and other Northwest artists (including one of Johsel Namkung who I’ve written about previously), their artwork and architecture. As I understand it (from one of the essays in the Landscapes book) Mary’s landscape work was ‘personal work’, photographs that she made for herself and shared with friends as christmas cards. These photographs eventually were published in the Landscapes book.
What particularly appeals to me about Mary’s work is that there is little of the grand landscape here. The feeling is much more of someone who had spent time with the landscape, enough time to let the landscape reveal itself.
To see more of Mary Randlett’s Landscape work I highly recommend the Landscapes book. The University of Washington has some of her work online in their digital collection. As always let me know if you find a good resource that I missed.
In doing research for my trip to the Olympic National Park one name that came up in a couple of places was that of Pat O’Hara. I’ve found it tough to find out about Pat. He seems to have been most active before the internet kicked into high gear and so there isn’t a big Pat O’Hara web footprint. There is some material – this page on the Nikon website gives a nice biography of Pat and gives a sense of his path to photography from his military service days in Vietnam in the 60’s escaping into photography during his R&R time to his photobooks that serve his passion for the environment and conservation. The gallery of images on this page is also a good resource giving a good overview of Pat’s work – a mix of both the grand and intimate landscape.
There is more information about Pat on the Visionary Wild website, largely because the principal there, Justin Black, seems to have coaxed Pat into teaching a workshop a year or two ago. I actually looked at this workshop which was based in the Olympic National Park with a special extension in Pat’s studio but passed on it because I had too many other commitments and thought, foolishly, that I could go to the next one. I haven’t seen another offered but would of course jump on it given the chance.
Given the relative small footprint on the web we are then left to look at Pat’s books. Fortunately many are available on amazon.com. Click here to see a list. The first of his books to arrive from amazon was ‘Olympic National Park‘ which has the perfect subtitle ‘Where the mountain meets the sea’. It’s a delightful tour through the park, especially since every image is a unique perspective that I have yet to see elsewhere, plus there is a blend as a mentioned above of grand and intimate landscapes. His work really makes me realize that there are unique images to be made in even the most well visited places if you just take the time to go beyond the postcard shot.
If you find a good source of Pat O’Hara’s work, let me know I’d love to see it.
I’m continue to enjoy watching the 1983 BBC tv series ‘Masters of Photography’. This week I’ve been watching the interview with Andreas Feininger. Not surprisingly I was blissfully unaware of Feininger’s experimental photography, much of which we take for granted now. He is perhaps best know for his photographs of New York taken with a telephoto lens. Telephoto lens, what’s the big deal with that you say – I certainly did.
He started working with a telephoto lens in Stockholm. There, in order to get the images of the waterfront that he wanted he shot from over 3 miles away using a telephoto lens. At that time, around 1938, telephoto lenses were hard to come by and expensive, so he made his own camera. In New York working for Life magazine he used a 40-inch Dallmeyer telephoto lens, equivalent of ~1000mm,the compression of perspective that he got with this was quite remarkable. The image above is a good example of it.
In addition to his work outside with the telephoto lens, he took the idea inside to photographed close ups of nature, things that he found on walks on the beach. These are quite interesting in that they are not just records of what is in front of the camera, but he goes to some effort to stage the object in an effort to record what he feels about the object.
Take a look at the interview with Andreas Feininger in the video below:
My intersection with Bill Brandt came by way of Michael Kenna. In a number of places I’d read that Michael Kenna was deeply influenced by Bill Brandt and yet when I looked up his work, much of what I found was nudes. Being very English and uncomfortable with all that nakedness, I left it at that. More recently I steeled myself for another look and found, in addition to the nudes, an eclectic collection of photographs from portraits to a look at society life to miners of the North of England to landscapes. It seems to me that Brandt’s later photographs became darker and more extreme in contrast, something that I assume he pushed in the darkroom. A good example of this is shown below:
For fun click here to see Michael Kenna’s rendition of this image.
Many of Brandt’s images can be found on his website under the licensing section. Well worth a look. Also worth a look if you’re in or around New York is the exhibition of Brandt’s work at the MOMA ‘Shadow and Light’ that runs until August 12.
To hear Brandt talk about his work check out this 1983 BBC interview:
Arno Rafael Minkkinen is a Finnish photographer who has lived in the US since 1951 and currently is a Professor of Art at the University of Massachusetts Lowell. I first came across Arno Rafael Minkkinen’s work through a documentary on PBS. I can’t find this program online but it is worth checking out to watch Arno in action. His photography has a sense of whimsy to it and is often slightly surreal, reminding me a little of Jerry Uelsmann’s work. His photographs are largely self-portraits: A naked Arno (or at least the part you can see is) integrated into the landscape. What is quite interesting to me is that all of his images are captured in camera on a single frame of film. No digital hanky panky here! In looking at his work I find myself trying to work out the ‘trick’ to how he pulled it off. His camera has a cable release and a 9 second timer, which allows him to get in position before tripping the shutter and throwing the cable release out of the frame. Even so, some still leave me wondering.
Check out the video at this link to hear Arno talking about his work.