More Scapes

This week we've added more photographs to the Scapes gallery and invite all of you to take a look. I've mentioned previously my renewed interest in landscape photography after spending the majority of my career photographing people and cultural situations. Not only did I not do many "rock and tree" images, but I would regularly downplay their relevance. I'm not sure what has changed in me, but something has, and I offer these examples of a growing involvement.

Cannon Beach, OR 2014

Cannon Beach, OR 2014

At Linda Hessman's


At Linda Creaseman's, with Farm Aid, Dodge City, Kansas 2015

Out walking while Charlie and Brooke do the interview with Linda.
In many ways these are my favorite times on these trips of ours.
The walks. Alone. Quiet. No thoughts of others. 
Some miles across an open field, pocked with prairie dog holes.
Moments without a schedule.
In a new place. One where I've never been.
Alert. Allowing life to come to me.


Evidence of Ewes Unseen

With thanks to Marianne Wiggins and Jamie Paul

Two images depicting the same scene – one done digitally in color, the other made with medium format film (2.25” x 2.25”) in black and white. The scene – pieces of sheep wool caught on a barbwire fence surrounding a pasture. The sheep use the fence as a scratching post. Both images are sharp with the wool and wire isolated against an out-of-focus background. Both pictures are about time, which is represented by the slight movement of the wool in the wind. Neither image reveals any noise – pixels in the case of the digital picture or grain in the film print. The questions for this photographer are: is the black and white image, because it’s made with the more labor-intensive, hands-on medium of film, more a photograph than the electronically produced color picture? Or are they simply different approaches to the same scene that contain the same photographic properties – an external reality, attention to detail, a concern with time, or the unique way photography frames its subjects?

For me, a photographer with forty years experience with film, who was never enamored with the darkroom experience, the difference matters little. The content of the picture has always been more important than how I get there.