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2 hours ago, Kl@usW. said:

Rog, it is nice to find the origins of  elements of earlier assemblages in a photo--it is like looking over your shoulder into the process of your otherwise miraculous work--or dare I say like meeting Michelangelo in the quarry while he is laying his eyes on  a block of marblestone ? 😇

Well, truth be told, I am in a state of constant query, not to be confused with the blockhead in Michelangelo's quarry. I am always asking myself, "So what." So, what does this image say? Can I salvage something here? Will it lead somewhere worth the trek? "Worth the trek!" Is that a tongue twister or what? Succumb to the tongue thrust speech impediment? I am really having a time with color fields in the land of Diebenkorn, currently, coming to terms with the flatness of his work, almost banishing any sense of depth but punching up the Ocean Park palette to privilege the play of color in context, giving a kind of chromatic feeling for the oceanside community: the water, the sand, the buildings, the sky. I apologize looking back over this series I'm exploring, since it seems to me rather derivative, even though occasionally I glimpse a breakthrough, playing with depth/dimension in the color field. See CF Zigzag No. 3. One exhibit paired Matisse with Diebenkorn to illustrate the Matisse influence in Diebenkorn's work, even though they never met. Thiebold and Diebenkorn is another matter, since they knew each other. Thiebold's play on perspective, particularly aerial perspective, is engaging. It's curious when we see Ralph Gibson launch recently into what he calls the "vertical perspective,"  Urbanscape in portrait mode. Mary Ellen Mark disdained portrait mode in favor of landscape composition. Perhaps Phil can flip open his file, here. I remember one of the assignments Mary Ellen Mark gave in a workshop Phil attended in Mexico: photograph a self-portrait. I heard this and wondered if every image that a photographer makes is by definition a portrait of the self. Is this what Phil brought up in a past discussion; "What is a photographer's signature?" Is it more than just style? What's at risk in the statement?

http://leicaphilia.com/meeting-mary-ellen/

Phil's inspiring reflections on his workshop with Mary Ellen Mark, written so well. 

2 hours ago, Kl@usW. said:

Cologne #2    

Birds of the night meeting at the cathedral. Hell knows what they are doing there--probably having a party. Couldn't see if they were wearing masks though... 

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MP; 3,8/24; 100 Acros II, D 76   

Another cinematic tour de force. Music score, please. There is such (e)motion in this one. I am going to skip over Bach for Karlheinz Stockhausen's Gesang der Jungline. (Sorry about the umlautlessness.)

Edited by Ernest
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Zigzag No. 3
M-A APO 50 ADOX Color Implosion

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Press Technika 4X5 Press Xenar 127 mm Foma 200

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Some modern building peeking through the historic industrial past...

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MP, 28, Foma400

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Look close. It is a killdeer, a plover common to Americas.

It is a strange little bird, known to make great efforts to lead danger away from its nest- through bringing attention to itself by behaving as though it cannot fly- by running ahead of the predator. This brave little fellow ran ahead of me for about half a mile......in both directions, as I walked by the nest on my daily stroll. Such heroic effort deserves documentation. :)

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Kodak Retina II, 50/2 SK Xenon, PanF

Edited by Wayne
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The mundane

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Kodak Retina II, 50/2 SK Xenon, PanF, HC110

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Ice-cream man

GR1s TMax100 DDX

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My freind "L." He enjoys mowing the lawn.

It is strange, to me, that photography sometimes allows me to get to know somebody through means that are often ignored, as instances actually occur. While the portrait allows you to admire the blessing of recalling what it was like to be near a cherished friend or relative, an abstract associated with that person's life allows you to, for a moment, stand in their shoes. ....be even nearer them, for a moment.

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Kodak Retina II, Xenon 50/2, PanF, HC110.

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Brunswick Centre. Porta 400, M3, Super-angulon 21 F4 variant.

Edited by Adrian Lord
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vor 23 Stunden schrieb Ernest:

Well, truth be told, I am in a state of constant query, not to be confused with the blockhead in Michelangelo's quarry. I am always asking myself, "So what." So, what does this image say? Can I salvage something here? Will it lead somewhere worth the trek? "Worth the trek!" Is that a tongue twister or what? Succumb to the tongue thrust speech impediment? I am really having a time with color fields in the land of Diebenkorn, currently, coming to terms with the flatness of his work, almost banishing any sense of depth but punching up the Ocean Park palette to privilege the play of color in context, giving a kind of chromatic feeling for the oceanside community: the water, the sand, the buildings, the sky. I apologize looking back over this series I'm exploring, since it seems to me rather derivative, even though occasionally I glimpse a breakthrough, playing with depth/dimension in the color field. See CF Zigzag No. 3. One exhibit paired Matisse with Diebenkorn to illustrate the Matisse influence in Diebenkorn's work, even though they never met. Thiebold and Diebenkorn is another matter, since they knew each other. Thiebold's play on perspective, particularly aerial perspective, is engaging. It's curious when we see Ralph Gibson launch recently into what he calls the "vertical perspective,"  Urbanscape in portrait mode. Mary Ellen Mark disdained portrait mode in favor of landscape composition. Perhaps Phil can flip open his file, here. I remember one of the assignments Mary Ellen Mark gave in a workshop Phil attended in Mexico: photograph a self-portrait. I heard this and wondered if every image that a photographer makes is by definition a portrait of the self. Is this what Phil brought up in a past discussion; "What is a photographer's signature?" Is it more than just style? What's at risk in the statement?

http://leicaphilia.com/meeting-mary-ellen/

Phil's inspiring reflections on his workshop with Mary Ellen Mark, written so well. 

Another cinematic tour de force. Music score, please. There is such (e)motion in this one. I am going to skip over Bach for Karlheinz Stockhausen's Gesang der Jungline. (Sorry about the umlautlessness.)

Thank you Rog, for your in depth thoughts. And to jump right into it: I know the constant query  too well-sometimes extending to the equivalent of a writers block. In the end I just give it a go and even If I come home with zero clicks--it´s ok. We have to be friendly and forgiving to  our creative mind. Btw: I have never seen your color fields as derivative--quite the opposite. 

Mary Ellen Mark has been one of my all time favorites and I bemoan my failure to attend one of her seminars.  But thinking of it: perhaps the new Steidl book is an adequate  compensation--I´m just trying to find an excuse for the price of the book 😱 . 

Stockhausen is an excellent choice --he lived, worked (  and loved) in Cologne. The WDR, the federal radio station, where he worked a lot is just opposite the cathedral and we can assume that he came along quite often.  To come to an end: Never saw Karl-Heinz, but quite often his son Markus Stockhausen. He blows a wonderful Jazz trumpet. 

Addition: I added the word "umlautlessness" to my collection of rare and beautiful words... 😀

Edited by Kl@usW.
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M4-P 35FLE Portra 400

Autumn view from Fruitlands in Massachusetts. In the 1840s, it was briefly the experimental farm of the Alcott family. The far more famous and more important Brook Farm community site is today a wreck, but Fruitlands has a well-funded cultural center. The difference in support, I suspect, comes from the beauty of this site.

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