"Gramp" : Photos That Move Me

From the 1978 book by Mark and Dan Jury called "Gramp." I don't own this book yet, but I'm working on it. The book tells the story of the death of an 81 year old retired coal miner as told and seen through the eyes of his grandsons over a three year period.

The thing I find so touching in this photograph is the look the young man is sharing with his grandfather. It's one thing to care physically for an elderly grandparent. But, relating to the people in our care can be challenging sometimes. But, that is just what's happening here. It's a glimpse into a moment of incredible humanity. Amazing, amazing photograph.

The other thing I love about this is the power conveyed without intricate composition, staged props, tack sharp focus, the right f-stop, etc. It's a fuzzy focused f8 and forget it kinda deal taken in spartan surroundings, and it's just amazing. No pixel peeping necessary. If you are getting hung up on all that stuff, go back and grab a disposable camera and do some focusing on composition and subject. It can help a lot.

This book is out of print now. But, I don't want this photograph to be lost to the public. What do you think? Am I gushing too much over this?

Still Life : Photos That Move Me

Photos that move me. There are a couple of still lifes that just draw me in. This is the first one, by Edward Weston.


Ordinary pepper taken to a level where you just need to go look at it. Of course, Edward Weston is better known for his fine art nudes, many of which are of his wife Charis Wilson. Weston also spent time working in Yosemite National Park with a youger upstart Ansel Adams. I have a very nice book of Weston's photography where still life is displayed opposite some of his nudes of Charis. The rounded forms are mirrored in such a beautiful way.

The second one is a pair of scissors. Let me see if I can find it.



OK, had to scan it from a book. This is Pål Nils-Nilsson from 1959. I love this as a light study. Once again, everyday things made extraordinary. Perfect lighting on both. The striking nature of black and white.I remember Chase Jarvis saying that wherever you are, there are 10 great photographs within 10 feet. These pictures are my favorite reminders of the miracles around us everyday.

Death in Haiti : Photos That Move Me

"A man throws a dead body at the morgue of the general hospital, Port Au Prince, Haiti, January 15, 2010, following the 7.0-magnitude quake on January 12. First Prize General News Stories, Olivier Laban-Mattei, France, Agence France-Presse. #"

This photo is horrifying. Just want to say that right at the outset. This photo was taken by Olivier Laban-Mattei of France's Agence France Presse. I saw it on the Boston Globe's Big Picture section. They often post pretty amazing pictures. This is one of the winners of the 54th World Press Photo Contest.To see the rest of the photos, visit http://www.boston.com/bigpicture/2011/02/world_press_photo_winners.html.

What gets me about his is first off the shocking nature of it. It's a man throwing a dead child's body. I have heard NPR reports of the crisis in Haiti for months. It all sounded sad, and the stories painted a picture of a nation in shambles. But, not until I saw this photo did I really lose it. I get it now. Photography can do that.

The other thing that is amazing about this photo is the story in this one image. This man works in the morgue. Most people in public morgues, I assume, are caring people. So, to see him throwing a body unceremoniously into a pile says that he has gone past the ability to care about these people. He's closed up to protect himself emotionally from this horror. You'd have to in order to keep doing your job.

The point of photography to me is to make people feel something. About 99% of what's out there passes by without notice. It's utility photography selling you a new car, or a boring portrait. This photo is arresting. It immediately made me feel sorrow for the people of Haiti. This photo made me cry. What about you?

Corporate color

Back-painted glass in a parking lot brings apple green to a primary color party. Redmond, WA.

Stop smiling at me, stupid vacuum

The title is an homage to ZeFrank, who asked his viewers to dress up their vacuums and post pictures (Treat yourself to a year of The Show With ZeFrank here. My vacuum seemed to be grinning at me. Just silly iPhone stuff.

Photography Jam Session?

How do we have a photographic jam session? I am not ready tonight to brainstorm this. But, I just saw this incredible video on Vimeo (through the blog at http://www.holidaymatineee.com).

Yours Truly Presents: The Morning Benders "Excuses" from Yours Truly on Vimeo.

It's amazing to see the collective energy going on here as a buch of friends jam and produce a killer sound. How do we do this with cameras? I want to know. Drop me a line below.

Book Review: Hot Shoe Diaries

OK, first blog post ever. Instead of trying to be philosophical or profound, I thought I'd start simple, with a book review.

Dad was a Nikon guy. I am a Nikon guy. It runs in the family. I've seen this gear pounded around, shot in the rain, dropped on lenses--and it all still works great. As a matter of fact, I still use manual focus primes from the early 80s on my D700 DSLR. Can Canon cameras create great results? Of course. But, it's personal preference--and Nikon's how I roll.

So, I am always pleased to read Joe McNally's books. He's a Nikon guy, and his books are like the manuals that should come with all this gear. I loved The Moment It Clicks, and The Hot Shoe Diaries is now my favorite book on how to use my DSLR and SB-600 flash. As he does in The Moment It Clicks, Joe shows off a bunch of great photos and let us know how they've been constructed. There are great discussions of how and when to use flash gels, how distance affects shadow, and great techniques for diffusing light.

So far, Joe's talked me off the ledge when it comes to gels. I was really freaking out about these new toys in my camera bag. Will I use the right one? Which one? The yellowy one? The orange one? Readin this book, there are places where he talks about one CTO (orange gel) not being warm enough and using three to get the result he wanted. The point? There's no one right answer. I'm already breathing easier.

There are diffusion examples everywhere in the book. But, there's a standout section here where he shows the same composition of a woman in a prison mugshot setup. The first shot is with the built in pop-up flash. Yuck! Then, with a hot shoed SB-900. Then, off camera SB-900 with Lastolite panels, then one with shoot through umbrellas, and the Lastolites. This is probably the best example I've seen of showing the differences between hard directional light and diffused, wrapping light.

Also infused throughout this book is Joe's magazine shooting experience. I think stories about tight deadlines and making your shots stick out in a world where a billion photos are now taken every day speak to my dream of one day being a pro with real clients.

It's also nice that Joe mentions the gear he uses--Lastolite tri-grips and all in one umbrellas, Lumiquest modifiers, etc. This is great because I can look these things up on the web and understand exactly what these lumps of equipment are and how he's using them. It's really great.

But, the greatest gift in this book is the encouragement to go out and shoot, and make adjustments, and get great results. This book is pure inspiration. I'd encourage anyone--especially my Nikon brethren, to go get this book.

-30-

OK, phew, it's done. My first ever blog entry. :) Now, off to have an Ardbeg (nothing to do with photography) with an old friend.