BSHAPIRO PHOTOGRAPHY

January, 2012

2012-02-01T13:29:00.000-08:00

I've played around with the idea of watermarking my photographs, primarily to protect them from being downloaded and re-purposed. I thought, in fact, of beginning the practice with these, the first photos of the new year. In the end, I have decided not to watermark them. It's not that I assume the best intentions in people or anything like that. It's just that I feel a watermark would take away from enjoying the images. I want people to see my photographs as close to the way I envision them as possible. So, no watermark--this photo-blog operates on the honor system...

Looking North–1.8.12

Walnut Trees, Evans Valley Road–1.11.12

* * *

Below is a series of photographs taken on Friday the thirteenth of the frozen ditch along the Evans Valley Loop. I always like finding this seasonal phenomenon. The thin ice catches motion and creates its own world, inhabited by still creatures...

* * *

Canby, Oregon–1.28.12

Mollala, Oregon, 1.28.12

* * *

Canby, Oregon–1.30.12

Three Graces, Canby, Oregon–1.30.12

Canby, Oregon–1.30.12

Shortly after taking this photograph, the man who lived next door came by and kind of startled me. He stood behind me and asked if he could help me. I told him I was "just taking some pictures." Pictures sound so much less threatening than photographs. I asked him how long the house had been empty. "It's not," he replied.

Canby, Oregon–1.30.12

Catching up... again.

2012-02-01T12:11:00.000-08:00

With 24 hour news cycles and instant messaging and all that, I really need to reduce the lag time from the field to the Net, again...

The Willamette River, from Keizer Rapids Park, 12.11.2011

The three photos below were taken in Paso Robles, on a wine-tasting weekend. None of them have been Photoshopped (as yet). The first photo (the tree) looks, to me, as if it had been shot with Kodak's Plus X. Dave's Dogs truck and the tree close-up were taken in Paso's town park.

Paso Robles, California–12.18.11

Dave's Dogs Panel Truck, Paso Robles, California–12.18.11

Next up, January, 2012...

TRACTOR GRAVEYARD

2011-12-10T12:47:00.000-08:00

I got my first camera in 1966. It was a Minolta Hi-Matic 9 rangefinder. My father bought it for me, in Europe. He went for business. He asked me if I wanted him to bring anything back, besides records by the Beatles and the Stones. I asked him to bring me a camera. Now, Leica makes some pretty fine cameras and they happened to have made them in Europe. Rollei made cameras. Hell, Hasselblads were supposed to be good. My father bought himself a Minox-- like a spy camera. He would sneak shoot some snaps of women's shoes in store windows in Rome and Paris. Now, before you draw the wrong conclusion, my father was in the shoe business. His idea of designing was to take pictures of the latest styles and have the factory he worked for copy them.

The first pictures I took with my Minolta Hi-Matic 9 were in a graveyard. I thought it would be creative and cool.

I just got my Canon G9 back from having it repaired. I'll spare the details, but the point is, although it is not a NEW camera. It seems, for the purposes of this introduction to a series of photographs I took the day before yesterday. They were taken at what I think of as a tractor graveyard. Almost a hundred mostly Ford tractors in various stages of rust and deterioration. The lot is usually locked up. I noticed it was open and activity going on the other day. I was on my way to the opthamologist for an eye exam. I had some time to kill afterward. Bearing in mind I had just had my eyes dilated for the exam. I could hardly see, let alone drive. Bearing that in mind, I headed back toward the graveyard.

I think the potion's effects on my vision started to diminish as I got to the graveyard. Or at least I would like to think that...

Last Class

2011-12-04T18:01:00.000-08:00

Last Wednesday was my last after-school photography class at Walker Middle School, in West Salem. It was an odd class this time around-- all boys, which never seems to happen. There ended up being just four of them. The sun appeared and we decided to spend the first of the last class outside. The photographs below are of the walkways at the front and west side of the school. My Canon G9 was out being repaired so I ended up using the old Casio--a good little camera.

Minto-Brown Park, 10.29.2011

2011-11-13T14:02:00.001-08:00

None of the following have yet to be processed through Photoshop. They are as the camera captured them...

A matter of aesthetics.

2011-11-13T10:46:00.000-08:00

Minto-Brown Park, in Salem is nearly 900 naturally open and wooded acres. There are paths that hug the banks of the Willamette River and from certain perspectives, it looks, for all the world, as if the location has never been touched by the 150+ years since Isaac "Whiskey" Brown settled on what became known as Brown Island. The park is a wonderful treasure, one I have only just recently become familiar with. It is where I decided to inaugurate my new Tamron 17mm-270mm super-zoom. As is often the case, I tend to shoot in the jpg + RAW mode, in the monochrome setting. That way, I get black and white jpg's and the RAW files in color. On occasion, the RAW files so overwhelm me that I decide to process them in as faithful color rendition as I can. The two images of the Willamette are examples where the color was so compelling to me that I shot them that way, and not in monochrome.

The Willamette River, from Minto-Brown Park, looking West–10.22.2011

The Willamette River, from Minto-Brown Park, looking East–10.22.2011

While I marvel at the color and the natural splendor of these images, I almost cringe at them. Through some minimal Photoshop work, I emphasized the beauty and tranquility, the autumn colors and so on, resulting in nothing less than what probably appears as picture postcard pretty.

There is a photographer I know in Salem who shoots large-format, black & white exclusively. I had arranged for him to exhibit his work at the June Drake Center that I was running in Silverton. We got into a bit of an issue of the exhibit, space allotment and so on. The space was named for June Drake, who was a commercial photographer in Silverton and had used his photography as a way to petition for the establishment of Silver Falls State Park-- the largest in Oregon. I had considered part of the permanent display on Drake were three of his photos of the falls that he had taken, printed and hand-colored. This photographer had taken issue to these images, relegating them to a little closet that contained little more than a water heater, so that he had more exhibit space for his work. He had referred to them pejoratively as "idealized and romanticized 'pretty pictures'." My response then had been one of outrage as in "How dare you?" Thinking that when his photography can champion the creation of a state park then he would have the right to criticize and demean such 100 year-old images.

Which is a kind of a roundabout way to raise the issue of aesthetics. Is a work of art that is "pretty"-- that pleases the eye of lesser validity than one that pokes the eye? The above images are unambiguous in their "prettiness." They are completely different in monotone:

The Willamette River, from Minto-Brown Park, looking East–10.22.2011

On one hand, I don't feel I need to defend my decision to render the river-scape in color, and in the other, well...

Color photography has never been accepted in context of traditional fine art photography. Eliot Porter's name comes to mind, but is overwhelmed by the countless art photographers who have shot exclusively in black & white. I tend to shoot in monochrome both because it admittedly represents a perception of more serious work and also, on a very practical level, it is less distracting than color.

The black & white rendition of the the Willamette River, from Minto-Brown Park, looking East is, to me wholly and totally different from the color version. Not better or worse... different. They are both valid and truly make different statements.

I took some other photographs that day--ones I had envisioned in black & white, and remained that way...

Occupy Salem

2011-11-02T11:34:00.000-07:00

Thus far, I have attended two of the rallies/demonstrations with the Occupy movement, in Salem, Oregon. I brought a camera to both. I feel I captured one image that encapsulates the spirit, and recalls a photograph I took over 43 years ago, (see: "Central Park Demonstration, New York City– 4.1968" posted on 1/1/2010). The more things change...

Peace Plaza, Salem, Oregon–10.15.2011

Ambiguity

2011-10-16T18:23:00.000-07:00

Evans Valley Road, Silverton, Oregon–10.5.2011

Minor what wrote that one should look at a photograph not for what it is, but for what else it is. I drive by this upended tree stump nearly every day. Sometimes I have thought it looks like Michelangelo's Pieta. More often, I think it looks like the grim reaper without the characteristic scythe. In the end, it is not necessarily what I see but what you see.

And, by the way, I was tempted to crop out the piece of the power pole on the right, but decided against it. This is as the camera captured it, flaws and all.

In the Spirit of Minor White.

2011-10-16T15:35:00.000-07:00

I was invited to participate in an exhibition from the Salem Art Association at the Bush Barn Art Center. The theme was "Parks for People: The Art of Stewardship." The only criteria was that the image had to have been taken at the Bush Pasture/Park or the Deepwood Estates, in Salem. I thought I had all the time in the world. I was wrong. I had a meeting that had been postponed once before on September 1 at the Art Center and I thought I would kill two birds with one stone. After the meeting, I would traipse around the Bush grounds and–just like that–capture an image to submit. Again, I was wrong. I read the artist information incorrectly. The piece had to be submitted by September 1.

I had had surgery at the beginning of June and was just about recovered when I came down with a difficult to diagnose respiratory malady. I was weak, tired easily and was having trouble breathing. It turned out to be pneumonia. The accompanying dry cough had aggravated my surgical recovery and, all in all, I was pretty much a mess.

I went for the meeting on the 1st and learned I was about to miss the deadline. I asked the gallery director if I could have an extension. This was on the Thursday afternoon before the Labor Day weekend. She consented. I could bring a piece in on Tuesday morning, no later than 10:00 am.

The pressure was on. Pressure I didn't really think I was up to. I tried to beg off submitting a piece. I got a smile in reply and a siren song. "I'd really like you to participate."

Great.

So, with labored breath and undue pressure, I pored over the grounds of the Bush Pasture. I started at the greenhouse, trying to capture the patterns of drips and shadows outside. Then I entered, looking for the image that I thought was waiting for me.

Coleus, Bush Greenhouse, Salem, Oregon–9.1.2011

I took a number of photographs of the plants in the greenhouse. I tried to get the wrought iron bench and capture the shadows cast by the window panes above. My all-purpose zoom lens fritzed out on me. I switched to the macro and then the normal, fixed focus. I was wheezing and losing faith in my ability to pull a photograph out of an imaginary hat. I didn't have to review what I was shooting. I knew it wasn't happening.

Fallen Apples, Bush Pasture, Salem, Oregon–9.1.2011

I walked around the trees, looking at the gnarled branches and the fruit trees. I took a few exposures of apples that had fallen around the tree. I was getting more and more discouraged. I was half-thinking of going back into the Art Center and admitting defeat. It seemed the more I looked, the less I saw. I was shooting for the sake of it, uninspired and bereft of the all-important mojo. I decided to head over to the Deepwood Estate and see if I could be inspired there.

The Secret, Deepwood Estate, Salem, OR–9.1.2011

No sooner did I park and drag myself by yet another greenhouse did I find my photograph. Or, should I say, it found me.

Three young women, dressed in the shiny satin looking long gowns of Russian Old Believers or Mennonites, with covered heads, were across the path from the greenhouse. One was seated with an iPod, the ear-buds firmly in place. The other two were standing, their heads close in conversation. As I looked into the locked greenhouse, I saw the two women's reflections in the glass. Eureka!!!

I took maybe a half dozen exposures and didn't review them until I got home. I almost felt like I was stealing... stealing perfection. It just felt so right. It was one of those rare and wondrous moments in photography—a Minor White moment. I had stopped looking and had instantly found my photograph.

Minor had a theory about "found photography." I have interpreted it to simply mean that the images are "there." They are just waiting to be found. One "takes" a photograph. They are there for just such a purpose.

I showed my wife the series and she instantly gravitated toward the first exposure of the six. Initially, I printed the image as a 12" x 18". But the image is too intimate for that size. I went back and printed it about 8" x 12" and had it framed in a 16" x 20". I delivered it Tuesday morning at 10:00. The gallery director really liked it. It got a good response at the show's opening... and I found out today that it had been sold. I called the buyer, who said it "drew her in."

My old teacher, William Giles, was a student of Minor White. He learned his lessons well and passed them on to his own students. I learned them and continue to learn them. The power of photography is transformative. I am so gratified there are a few folks out there who get what I try to do with my camera, my eyes and maybe something deeper. I thank you for that.

Between then and now.

2011-07-21T15:30:00.000-07:00

I've not been shooting much, and posting less... here's a little catching up:

Lilly. July, 2011

My wife grows them. I shoot 'em.

Salem, Oregon. 5.2011

* * *

I had tried doing a bit of a Ruth Orkin exercise during the month of May,

shooting the same view every day (around the same time).

These are four of them.

5.16.2011

5.18.2011

5.23.2011

5.28.2011

The Beasts of Lincoln City

2011-03-09T17:11:00.000-08:00

These inexplicable, indescribable creatures were found on a "beach" in Lincoln City, Oregon--2.26.2011

The quotations refer to my long-held belief that a beach is somewhere you wear a bathing suit and apply suntan lotion. Thus far, I have not found a beach in Oregon. Oh, there are places where the surf pounds upon the sand. It's called the coast and I will continue call it that, until the day I plant my chair under the warm glare of the summer sun.

Lincoln City, 2.12.2011

2011-03-03T20:42:00.000-08:00

It was just 2 days 'til Valentine's Day.

A seal impersonating a Henry Moore sculpture,

braying at the surf.

Collectibles, in the window

Swimming in Debt

These were taken on an abbreviated visit to Lincoln City, on the Oregon Coast. I refuse to call the sand and driftwood and surf a beach. It's too cold for that. But it is fascinating, nonetheless.

Doll in Collectible Shop, Lincoln City

Homage to Wm. Giles

2011-03-03T20:36:00.000-08:00

I found these compositions while teaching at Walker Middle School, in West Salem. They are the kind of found images that fascinated photographer/teacher William Giles when he lived in a loft in downtown L.A., waay before it became fashionable. I call the top one Wearisome Dancer and the one below, Hangin' Out. They were taken on February 8, 2011.

THE WOMEN OF MAC'S

2011-02-16T22:03:00.000-08:00

These were taken over the shoulders of two high school students who are interning with me. I have learned a lot from them and I hope they from me. We set up a temp studio in Mac's Place, in Silverton. The models work at Mac's... except, of course, for Juniper. Taken 1.30.2011

Juniper

Sophia & Juniper

Angie

Angie, photographed by Rebecca

Sarah

Barbie

Jasmine

Fugitive, Boston, 10.5.2010

2010-11-04T10:39:00.000-07:00

I am only sorry I took just one exposure of this. This was captured looking up from the hallway adjacent to the Galleria, on the second floor of the Museum of Fine Arts, in Boston. I actually called the museum the other day to confirm my suspicions. The figure is not usually covered in plastic. There was some painting/maintenance going on. Which is kind of the reason I call it "fugitive."

fu·gi·tive
[fyoo-ji-tiv] –adjective
3. fleeting; transitory; elusive: fugitive thoughts...

Boston, MA–10.4.2010

2010-10-24T14:41:00.000-07:00

Above Newbury Street, 10.4.2010

Newbury Street, 10.4.2010

North End, Boston–10.4.2010

St. Lucia, St. Leonard's, the North End, Boston–10.4.2010

St. Leonard's, Boston–10.4.2010

Outside St. Leonard's, Boston–10.4.2010

North End, Boston–10.4.2010

I was reading The Given Day by Dennis Lehane during the trip and this image of the brick echo of what was whispered of the story of Aiden Coughlin and the city that is long gone.

The North End, Boston–10.4.2010

Watch Out for This Creep, Hanover Street, Boston–10.4.2010

Hanover Street, Boston–10.4.2010

Sea World Barbie+

2010-10-24T11:22:00.000-07:00

My wife and I visited her cousin in Connecticut. Prior to a family reunion picnic, I wandered around their backyard and popped some snaps. Typical (for me), I pretty much put my camera away when the guests arrived...

Sea World Barbie 1, 10.2.2010

I took this one with the Canon G9 set on incandescent AWB, which gave it the extreme Ektachrome effect. I was waiting until the sun reached the area, but someone decided its removal was part of the party clean-up. Some people just don't get it

Sea World Barbie 2, 10.2.2010

This one was posed. I think she bares a frightening resemblance to bonehead Beauty pageant titleholder, Carrie Prejean, (Miss California USA 2009)

Koi, 10.2.2010

Our hosts had a little faux waterfall and fabricated pond filled with colorful koi. Naturally, I caught them in B/W. I did nothing to enhance the glow coming off the fish.

"The falls," 10.2.2010

Catching up-September, 2010

2010-10-22T13:46:00.000-07:00

From the sublime to Oktoberfest in Mt. Angel, and back again. More than likely, one of our cats killed the bird. A steady victimization of voles and field mice must get monotonous. The image was shot with a Canon Rebel SXi and a EF100mm macro, as was the image of the praying mantis at the bottom. The shots from Oktoberfest were taken with a Canon G9, on September 16th-- the first night of the event.

Catching up, cont.

2010-10-21T21:16:00.001-07:00

I taught 2 classes over the summer. One was at the Kroc Corps Community Center in Salem and the other was young men who had all been incarcerated and were residing at the Catarino Cavazos Center, under the care of the Catholic Community Services. I learned from both classes. Very different things. The photographs of Alex and Ashlynn were taken with a Canon G9 and available light.

Teaching the young men from the Cavazos Center was the first project done under Creative Matters, a program I developed a few months earlier to empower at risk youth through collaborative arts. When I came up with the idea, the thought of teaching kids in the juvenile justice system was beyond remote. A bit like being thrown into the deep end of the pool by the swimming coach. Probably not the best way to learn, but the experience will most assuredly last a lifetime. None of the guys had ever taken an art class before. A few showed natural ability. Some would just not engage. And then there were those rare moments when the wall was broken, and they would let their guard down. Their portraits were taken with a soft-box and a Canon G9 in the Metropolitan Building in Salem, location for this past summer's Project Space, in conjunction with the Salem Art Association.

Alex

Ashlynn

Miguel

Marcos

Oscar

Eduardo

Bryan

Catching up-Seattle, July 25, 2010

2010-10-21T19:07:00.000-07:00

Catching up-Pike Street Ready-Mades, July 25, 2010

2010-10-21T12:40:00.000-07:00

These images were found across from the Left Bank Bookstore, on Pike Street, in Seattle. They are, more than anything else, studies in composition and visual editing. The wall is a treasure trove of Dada, Pop and more than a hint of Aaron Siskind. In the effort to post these, I have done minimal exposure tweaks, most had little more than the "auto levels" in Photoshop. Some need work. Others are good to go as they are. Enjoy...

Catching up- Butte Falls, July 3, 2010

2010-10-21T12:26:00.000-07:00

Butte Falls is one of my favorite places. It is close (less than an hour's drive over mostly unpaved loggers' roads) and it is always changing, always new, always enchanting.

Catching up-June, 2010

2010-10-21T11:38:00.000-07:00

I am have been remiss in not posting recent images here. I am trying to make amends, beginning with this handful, taken in June.

Silverton Reservoir, 6.23.2010

Market Street, Salem, 6.23.2010

6.9.2010

Raindrops, 6.7.2010

Looking north/northeast, 6.7.2010

One of the saving graces of living in our little corner of the Northwest is this.

I never tire of the ever-changing mosaic.

6.9.2010

Smith River, Redwood National Forest, California

2010-06-06T20:36:00.000-07:00

Metal Leaf I—5.30.2010

Metal Leaf II—5.30.2010

Left Leaning Crayfish—5.30.2010

Quiet Smile—5.30.2010

The Heavens Recorded in the Rock—5.30.2010

Sheltered Conversation—5.30.2010

Languid Smile—5.30.2010

What the Rock Said—5.30.2010

Raindrops — 5.26.2010

2010-06-06T16:10:00.000-07:00

A Passing

2010-04-20T16:44:00.001-07:00

We had adopted a pair of white hens about a year ago. We named them, aptly enough, the White Chicks. They were virtually inseparable, seeming to watch one another's back. But chickens can only do so much. One was killed by the late and not so lamented Teddy, the dog we adopted from the people down the road. The remaining White Chick laid the biggest, whitest eggs. A couple weeks ago, she had been brutally assaulted by one of the roosters. It is their way. Tenderness is not part of the chicken mating ritual. Half her head was covered in blood and we thought she had had her eye pecked out. We brought her in the house and nursed her for about a week. She still had the eye, but it was of no use. She was half blind. When we returned her to the general population, she seemed like she was shying away from the others. She would turn her head like Linda Blair in the Exorcist, just to see around her. I had a special place in my heart for White Chick. I felt her vulnerability. Soon enough, she was laying those big white eggs again... right up until the day before yesterday. She seemed alright. I found her on the hay bale, close to death yesterday morning. She passed away fairly quickly. I don't know what happened. I mourn her loss and am a little uncomfortable with this image. I think it is beautiful, but sad. Very sad.

Florida Images

2010-04-07T20:41:00.000-07:00

I have been remiss... again. I can't believe it's been over 4 months since I've posted any images here. I will try to do better. Here are some recent images from last week's journey to the heart of darkness...

Ft. Lauderdale, Florida, 4.1.2010

Paradise, Hollywood Beach, Florida, 3.31.2010

Mah Jongg, Hollywood Beach, Florida, 3.31.2010

Moon over Fort Lauderdale, 3.30.2010

FLASHBACK: New York, 1968

2010-01-01T20:44:00.000-08:00

I was going through some negatives, looking for something. I found something else. These are a few (!) shots I took, in 1968. Some are embarrassingly trite. Some are historical. Some are very personal.

Window Shopping, New York City–4.1968

Free TV, New York City–4.1968

Steinway & Sons, New York City–4.1968

I studied under two hardcore Leica street photographers, who were steeped in the tradition of Friedlander and Winograd. Even though I shot with a Canon SLR, I was clearly influenced.

Steinway & Sons, New York City–4.1968

49th St. Encounter, New York City–4.1968

5th Avenue, New York City–4.1968

3 Women, Central Park, New York City–4.1968

Brooklyn–4.1968

Masked Men, Brooklyn–4.1968

Church's Ice Cream, Brooklyn–4.1968

Looking past the Myrtle Avenue El, Brooklyn– 4.1968

Playground, Brooklyn– 4.1968

Street Demonstration, New York City– 4.1968

Easy Rider, Central Park Demonstration– 4.1968

Be-In, Central Park, New York, City– 4.1968

Street Demonstration, New York City– 4.1968

Central Park Demonstration, New York City– 4.1968

A case of simply being at the right place at the right time. 40 something years later and I still think the woman is all wrong. Too done up .

Ossie Davis, Speaking in Central Park, the day after Martin Luther King was assassinated.

April 5, 1968

Motorcycle Irene– 4.1968

Irene came in costume. She was nothing if not the embodiment of contradictions. We were friends. We also lost track, years ago.

Irene– 4.1968

Maggie's Eyes– 4.1968

Maggie with kitten– 4.1968

Joyce, reflected– 4.1968

Probably the last photograph I took of Joyce, and the last time I saw her. In this one, the moment had passed, the magic had disappeared, the subway to Manhattan beckoned.

Joyce– 4.1968

Maybe my favorite shot of Joyce, and the least representative. She left me with strong memories and film negatives...

First Frost

2009-12-04T19:55:00.000-08:00

First Frost, Silverton, Oregon–12.2.09

Hard to believe it's been about two months since I last posted any photographs. It makes me think of that often quoted line from John Ono Lennon, "Life is what happens to you while you're busy making other plans." Maybe it's the global warming, or maybe it's just Oregon. Two years ago, the first frost arrived on Halloween morning. This year it came two days ago, on December 2. The photograph is a pile of leaves on one of our front stairs that I really should have swept away before this. By the way, there was no Photoshop work done on this image. The muted tones are exactly what the camera caught.

Butte Creek, Oregon-- 9.28.09

2009-10-16T17:28:00.000-07:00

Horse Drinking at the Creek

Indian Beach, Oregon-- 9.13.09

2009-10-16T16:48:00.000-07:00

Salem Insane

2009-09-05T14:29:00.000-07:00

The following are from the eight images I exhibited at the last show at the Project Space II gallery/workspace that opened on August 26 and had its artist reception on Salem's First Wednesday, September 2, 2009. All but two of the pieces displayed were digital photo-montages, combining song lyrics, archival images or simply composed with more than one image.

Fairview Training Center/Mad World, lyrics by Roland Orzabal (Tears for Fears)

The Oregon State Hospital/People are Strange-lyrics by Jim Morrison (The Doors)

Fairview Training Center/Darkness, Darkness-Jesse Colin Young (The Youngbloods)

The Oregon State Hospital/Crazy, Gnarls Barkley

The Oregon State Hospital-composite

Equivalence postscript

2009-08-27T16:16:00.000-07:00

The show officially closes on Sunday and from the opening reception, two sales and random comments, it was a success. Here are a few comments I received via e-mail. I may post some of them on the website...

You see Oregon just like I do. Many do not see it, but you definitely do- thats why I am so attracted to your photographs.

Courtney Brazil, Portland

They say a great photographer has to train and focus their mind and heart into the lens of the camera. It is clear to us that you have accomplished that so very well. Your work is cerebral, sensitive and creative. We had many favorites and could tell others visiting your exhibits were impressed as well.

Tom Lichatowitch, Silverton

I wandered by design into Lunaria last Wednesday to see your show. Wonderful! I love the opening photo of the thistle leaves. They could be almost anything, the landscape of a far-off planet even, and the frost highlights their structure, and the framing of the shot captures the beauty and mystery. Also, the shot of the wall in Salem (I believe) was marvelous. Its appearance changed while I looked at it from a surface of badly decaying paint and scuffs and smudge to a photo of flowers or abstract art. The clouds, the tempestuous sky, way cool. I do not know how you took that shot, but it seems like you were miles in the sky shooting down this tunnel from stormy skies to blue. The wall of rock with the ‘eye sockets’ changed the longer I looked at it. I truly admire your ability to see the equivalence and beauty in what appears to me to be a rock or dirty wall. The shots are wonderfully framed capturing the essence without anything extra.

Jeff Klein, Silverton

EQUIVALENCE

2009-07-17T16:35:00.000-07:00

The images below are some of what I will be exhibiting at the Lunaria Gallery, in Silverton (Oregon) during the month of August for my featured show, entitled Equivalence: Photographs Taken Under the Influence. The title refers to Alfred Steiglitz and his work as well as the influence of Edward Weston, Minor White and Aaron Siskind (among others). The artist reception for the show is August 7, from 7-9. Stop by if you're in the area!

Joshua Tree

Rite of Spring, Silver Falls State Park

Otra Giaconda, Huatulco, Mexico

Columbia Gorge, Oregon

Equivalent, 3.6.09

Adagio

Equivalent, 5.6.09

Tempestuous Sky

Sunday in Salem

2009-06-30T16:31:00.000-07:00

Some days you go out with your camera and nothing comes to you. Other days, you get overwhelmed by the compositions that unfold before you. Sunday was one of the latter. A cloudless, perfect day in Salem. The following is only a very small selection of the pictures I took...

The first two are among the shots of the Boise Cascade Mill that is in the process of being demolished. Visit http://www.oregonlink.com/then_and_now/paper_mill.html to see how it looked in 1924 and in 1996.

It is being torn down and will become a "mixed use" space. For now, it has all the charm of a victim of a German Blitzkrieg. The company doing the tear-down has a number of signs on the sight, referring to themselves as purveyors of "the art of demolishing."

The two photos above were taken on Commercial Street, next to the Oregon Tattoo Company. Garry Larson, the owner was outside, having a conversation when he saw me crouch before the wall and pop some snaps. "It's art, isn't it? I mean... people walk by and they don't think it's art or anything, but it's art." Garry said. Astute fellow, Garry is. The point of fact is that most people who walk by don't see it at all, let alone think of it as art. I took the series in black and white mode, but the RAW file of the top image caught me and I just had to go with it. I named it "Wallflowers."

Window. Treasure Island Antiques & Gallery. State Street. Single exposure.

From a parking lot, State Street.

The Capitol Building.

Steve Anchell, contributing writer to Shutterbug and The Rangefinder magazines. Mezzanine of the Capitol Building. Sometimes breaking most of the rules yields some very interesting results.

Oregon State Hospital, Salem. Another historic landmark that is being demolished. In another part of the hospital, patients still live and are treated. The hospital was the location for the filming of Milos Forman's One Flew Over the Cuckoo's Nest.

Brown Street, Silverton

2009-06-21T20:49:00.000-07:00

New Camera/Dying Rose

2009-06-12T21:05:00.000-07:00

I got a new camera a couple weeks ago. A Canon EOS 450D. It's called a Rebel XSi here in the US, which I suppose it could be worse. It's called a Kiss something or other in Japan. I haven't had a chance to use it much*. The day before yesterday I went to the Oregon State Hospital (location for the film, One Flew Over the Cuckoo's Nest) I may post some of those images. But today I took some snaps of some roses our neighbor grew that were on their last leg (or petals). This is one of them. I processed this one from the RAW file, converted it to grayscale and did minimal correction. More to follow.

*As for why I decided on the Rebel XSi-- I had a 30D for a while and was just intimidated by it. Too much camera, at the time. I sold it on eBay and bought the Canon G9, which is a great camera and I expect I will continue to use it for its ease and size. I had to get over the stigma of buying something called a Rebel. There really is no reason for me to have purchased a 50D other than the name. It, again, is too much camera for me. Neither did I need the latest incarnation of the Rebel-- although it offers more mpx, it also has the video capability and a built-in microphone, neither of which I need. The reviews indicated that the XSi has many of the same components of the 40D, with a plastic body instead of the titanium. My anal retentive traits will ensure no undue wear and tear. It fits comfortably in the hand, seems intuitive--not very different in controls, etc than the G9, with the benefit of interchangeable lenses, etc. As for why Canon-- that was a no-brainer. I can use my film camera lenses, and, with the exception of owning a Nikon F3 set-up for a few years, I have always owned and used Canon.

The Waldo Middle School Project

2009-06-05T17:35:00.000-07:00

These photos were taken while I participated in the art & poetry project at the Waldo Middle School in Salem (OR) in conjunction with the Salem Art Association this past April. I taught collage making while Carlos Reyes taught poetry. The results were collages containing poems the students wrote. It was kind of a primitive Facebook, in that the students were instructed to create a piece (on foam core) that showed how they would like to be seen. Some of the finished products were fairly incredible. While Carlos taught or when they worked on their collages, I took photos. These are just a handful of the literally hundreds I shot. If you've gone to my website, you know, I rarely shoot people. But this was a rare opportunity and these are rare – and very special – kids.

This is Alma. It was difficult to take a bad picture of her. She has a beaming, infectious smile. I caught her off-guard here, though you'd never know.

Brenda is another of the kids that seemed to light up for the camera. Her shyness and awkwardness doesn't come across in this image. Instead, she lights up with confidence and woman-knowledge.

Stephanie, on the other hand, was full of confidence. She looks much older than her 14 years as was the fact that she is much more articulate. The more I spoke with her and got to know her a little, the more amazed and impressed I was. She plays cello in the school orchestra. As I was leaving the school one day, I noticed her picture in the glass case in the lobby, singled out as a teacher's assistant.

Ashley – petite and quiet. And more complex than what shows on the surface. The wonderful thing about this experience was having a rapport with these kids at 13 and 14, a very impressionable age. I love the fact that Ashley just stared at me the way she did – not shying away nor concealing herself.

Taylor and Ashley. Taylor exuded confidence and poise. She was proud to tell me about her Normandy V-shaped Aluminum guitar and Mesa Boogie Amp. Rock on, Little Queenie...

Ally, Alma & Stephanie. Waldo has a dress code. The T-shirt that Stephanie is wearing is one of the options. At first, I didn't know that and just thought it was a cool shirt. In her case, it just might be very appropriate. I hope so, anyway.

Sarah. I don't think she knew I was taking this picture. Maybe the girl behind her did. This is where the term "woman child" was born...

Cody. A class clown. Bright as can be. Personable. And, if allowed, destined for good and great things.

Tiasha. I just love this picture. The kids were supposed to pair up and take one another's portrait. Tiasha didn't have a partner, nor wanted one, for that matter. She knew when to say cheese, to smile for the camera...

Newspace Gallery Entries

2009-05-28T15:18:00.000-07:00

After agonizing for what seems like forever on the five images to enter into the juried show at the Newspace Gallery, in Portland (OR), I have finally decided-- and a good thing, too. The deadline for entries is tomorrow. In addition to the image from the Macal River, (from the "welcome" post), they are...

I called this one "Window" in the submission. It was taken on Cordon Road, in North Salem in February of 2008.The version here is the toned one I submitted. It was originally shot on the B/W setting. I recently printed it and the contrast and composition really popped.

I took this on (or a block away from) Glisan, in Portland in June, 2008. I originally titled it in Spanish (Paisaje Inventado-- Invented Landscape) after Manuel Alvarez Bravo, but entered it with the English title. I'm too self-conscious to be that pretentious.

I often think of the passage in Edward Weston's Daybooks, where Charis, his model and wife, would be driving them through the Mojave during the work done under the Guggenheim fellowship, looking for locations. Edward didn't drive and would occasionally fall asleep in the car. Charis would stop and wake Edward up when she felt she reached what looked to her like a "Weston." This image is not exactly the same, but my wife did play a big part in creating it. We were walking along the Silverton Reservoir and she wanted to skip a stone along the glassy smooth surface of the water. I yelled, no! She laughed and threw the stone. It created the ripples you see. I shot and now must credit her for the creative and collaborative impulse. I called it "radiance" for the entry. Elsewhere, I have just called it "Ripple." I like the way the circular ripple radiates and repeats along the surface, breaking the reflection of the clouds and far bank of the reservoir. I inadvertently had the camera (my Canon G9) on the neutral density filter option, which forced a high ISO speed and the grainy noise you see. This image is on the website.

I call this one "Hostas Leaves" and have already been chastized for the lack of loftiness to the title. I took it just off the steps on our back porch a few weeks ago. There is a monochromatic version, and this tinted version. It was composed and cropped in-camera, with no additional cropping and very little tonal correction. The way you see it is the way it came, practically right out of the box. The simplicity and geometry of it is a close to what I think as perfect as I have gotten. I like the way it looks like it may have been taken three quarters of a century ago. Someone recently asked me what kind of film I use. I told him I don't. It is the image, above and beyond the means of capture, that counts in the end.

welcome

2009-05-26T21:52:00.000-07:00

I've been thinking about doing this for a while-- a personal blog to photography; my share some thoughts on the subject, but mostly a place to show new work and images in-progress. The image above, for instance, was taken on the granite rocks above the Macal River, in Belize, this past February. It is one of the pieces I will be submitting into a call for entries for a juried show in Portland. I also have a one-man show coming up in August (at the Lunaria Gallery, in Silverton) and I have been reading the writings of Alfred Steiglitz and Minor White in preparation. I also recently spoke with William Giles, who I studied with twenty-something years ago. He had worked with Minor and applied his principles in his own teaching-- the lessons are as fresh as they were then. In our conversation, he said that photography is "the hobby that hugs the heart."

I can't argue.

http://www.bshapirophotography.com

http://www.williamgiles.com/index.php?page=home2

http://www.jnevins.com/steiglitzclouds