Blue Tailed Damselfly

I think this is a Blue Tailed Damselfly, Ischnura elegans. If anyone knows better, feel free to let me know.

This weeks post is a meditation on image size, among other things. I’m finding the iPad to be really helpful in giving a fresh view of images, and I think especially for images that should not be seen at a large size.

Photography is funny; on the one hand we’ve got a two dimensional image that need to live and die by what happens in that flat space. On the other hand, the image is tied to something we might see in the so called real world. And it does seem often that an image won’t work if represented larger than real life — but then again it can, and sometimes it’s better for it. But I’m finding that in looking through photos in Lightroom on the big and oh so beautiful monitor, that some look worse at that size and in that space than they do on the iPad. Of course I can give a long rant about trying to use the iPad for photography, when images are inconveniently de-coupled from the concept of files. It’s impossible to find the damn image to actually work with it or print it in full resolution or anything. What a pain!

Some of my images, for instance One Cow, Thirteen Hay Bales; Iceland, really are best at a huge size. That image is all about space, and it helps to really throw some real space into the mix. It should be a big print, about 40″ long. Postcards of Robert Motherwell paintings are a tragic misrepresentation. On the other hand, this image, also sort of about space, seems better when more intimate.
(speaking of space, it turns out that this image doesn’t work as well for me in a tighter frame. There’s something about the insect’s relationship to the space around it that is significant.

I’ll include this in my iPad images collection. If anyone wants an iPad resolution version of an image for a lock screen before I get it together to make an app, please email me.


This photo isn’t a prize iPad lock screen image or home screen image, which was a roll I was on last week, but I did find it while flicking through a catalog on the iPad. It struck me, strikes me, to be very much of the lineage of large format based silver prints I used to make in the darkroom in the early 80s. This looks a lot like an 8 X 10 I might pull out of one of my archival boxes of silver prints I made in the darkroom. It’s kind of surprising it came from a digital camera.

The good gray tones, textures, a wild composition with strong lines — it has all the stuff I used to try to do. I’m not positive I like it, but I think I do. I know I’m not the same person who made those other photos back then with the big film camera, but there is some echo, some thread. Very mysterious.

 

This is new this week. I glossed over it when reviewing images, but it had enough of a rating to make it onto the for-review files on the ipad. Then it looked so good on the ipad that I decided to try it as a lock-screen image. It looks so good as the lock screen, I had to come here and put it up as photo of the week.

It got me thinking more about photos as something we see differently with different modern viewing methods. It’s a funny thing. While as a fine-photographer I have to take the print, or the possibility of a print, as the basic ground of what makes a “real photograph,” I also have to consider the glowing computer monitor, which is really quite a different thing. And for some reason a smaller hand-held glowing screen is yet another thing altogether. I don’t completely understand why.

I’ve been looking at a number of images as possible iPad-keepers, and it’s interesting. There are certain qualities that make them work for these purposes, lock screen and home screen being quite different. They also need to work when suddenly cropped by an orientation shift. Very interesting.

I’m working on programming an iPad app to present my photos, and this gets me thinking I’ll also need to create an app with images that make good home screen and lock screens for ipads and iphones, and make the app with possibility to get them to the camera roll or photo collection, so they could be used this way by any user of the app. Something interesting to think about, on the back burner.

We had a bit of snow last week, and I was out with my camera with my iPod on, making exposures in the fresh morning. After some uncannily good photographing-in-the-snow music, Bill Frisell, shuffle play on the ipod gave me a talk by Jack Kornfield. That, too was just right. He was talking about the way things are, in both mind and the world: Things arise, and then they go away. There is space, and then there is something happening in it or appearing in it, and then there is just space again.

When I was young, a real influence on my work, among many others, was Wassily Kandinsky. In some ways it might be hard to see any relationship in this image, and it’s something that only clicked for me when looking at his paintings in the Guggenheim in about 2005: his paintings are like mind. There is space, gap, peace, and then there is stuff happening within that — maybe pretty wild. Probably pretty wild and full of energy at times. There is always some silence around any noise. I thought, “Those paintings are like meditating!” I don’t know if Kandinsky ever meditated as such, but it seems to me he knew about mind and energy.

Way back, just starting with photography, I really wanted my photos to be infused with the energy of the world, and there was the challenge to make that happen. I wanted the energy, but I didn’t understand about the dance between energy and space. I’ve always understood that there was some mysterious resonance between the way things appear, the way we feel, and that a two dimensional surface could be an interface to that resonance. That was the magic I wanted to tap into, to work that interface.

Now I think of it more as Chogyam Trungpa might describe it: Ordinary Magic. It’s the most ordinary thing in the world. And deeply magical. Our minds work this way, and the world works this way, and we are all mixed up together in it. It just goes along, the most ordinary thing, and the most profound thing.

This photo was not made in the new snow last week, but my experience out in it, and the audio track, made me think of this image to post. The funny thing was that I was late for something when I stopped to expose this image a few years ago, my life moving wildly along the road, stopping for a stolen moment to trip the shutter. The other morning, taking time and enjoying some peace, I don’t think I got any photos with quite this quality. It’s funny, we can only be in the world as it presents itself, appreciate it as we can. Like the stream above, like the energy in a Kandinsky painting, like our minds and life, things arise, and then they change just like our thoughts and moods. There is stuff happening, and there is also a context for that, a bigger frame.

It’s really too bad to post this image so small. There’s all kinds of nice texture in the snow that gets lost, and the patterns of the shadows seem to get lost in jpeg compression artifacts, even though this is saved at a decent quality. Since I can’t post the whole image at a decent size, here is a detail, below:

john lehet photo detail

Pair of Bosc Pears

Photography has always been a very strange combination of focus and distraction in my life. Quite often using my camera is most compelling when I’m supposed to be doing something else. I see the most beautiful things when I’m driving in my car if I’m late for something. The discipline of using a camera (especially in the old days with a view camera, sheet film, and a spot-light meter) needs to dovetail with the open mind that sees and can feel the resonance of the world. The task of setting out to create or find a particular image seems to almost always end up with an altogether different result. This seems to be just like the rest of life: as John Lennon says, “Life is what happens while you’re busy making other plans.”

Just as last week’s image was found in my catalog while looking for something else, this new image struck me for a second week in a row, while scrolling to get to another image, with an altogether different feeling and intention. But this was too good to pass by.

In fact I am working with some apples and pears and such in an ambitious little project that doesn’t have much to do with the way this photo turned out. Grateful for the bit of focus on that, in that it gave me this.

I’ve got some exciting stuff going on in photography right now. Getting to know a new and better printer, a big Epson pigment ink beast. Also trying some new beautiful papers. And working on an ambitious piece, which it’s probably better to wait and see on. Hopefully I can pull it off.

Looking for something else entirely, I happened upon this image, which is an altogether different time and place and latitude from the trellis window girl in the last post. But also a child in an interesting space, with a trellis roof above, open to sky. This will definitely do for now!

OK, I had to give up on the Only Scan Film resolve I had going. Anyone watching would have seen that it was going slowly. Scanning and spotting a piece of big film was just daunting enough an undertaking that I would procrastinate it if I was busy. And I’ve been quite busy, for me.

So here’s something more straight-from-the-camera, from this June, when the roses were in full bloom in this garden. There were thousands and thousands of roses blooming near here, but this photo instead is of light and space. I like the Escher-like paradox of some of the planes and spaces, as well as the other-wordly light.

If this were a print, I guess it would be a proof. I don’t know for sure I’ve “got it” as far as the tone. It’s been too long since I posted anything here, so this is going live now.

A new post coming soon!

Gorge, Icicles, Hole in Rock, Cavendish - by John Lehet

It’s been a long time between new images here, and that’s because I’ve been sticking to my resolution to keep doing scans of old sheet film. Since I completely spot and go through each scan pixel by pixel to have a good, printable file ready, it takes a dauntingly long time. Maybe I’ll get back in the groove now. I guess I may be spending more time in my office.

In spite of the time it took, it was really an amazing experience going through the scan of this 30 year old film. 30 years! How have I even been alive for that long, yet alone doing photography? There is something quite magical about film grain, something really only an old-time photographer would ever spend much time with these days. This image, scanned at high resolution, is full of compositions within compositions when the full scan is viewed at a full zoom level. So in spite of all the time, I enjoyed revisiting this image I used to print in the darkroom back in the silver days.

This is from the same spot as the last post, also in Cavendish, Vermont.


This exposure was made a few hundred sheets of film later than last week’s post, in the winter of 1981-82. I used to spend time in this gorge with the view camera and tripod quite a bit in those days. It’s one of the most magical places I know of within a short drive of my house. Still, in spite of that, I hadn’t been there for years and years. My beloved and I took a snowshoe and camera walk there this year, reminding me of the old film, and I scanned this sheet.
Here is an exposure made in nearly the same spot in the summer.
I’m going to try to be disciplined and scan good old film and try not to get distracted by new work. However I’m nothing if not distractible. Sometimes a virtue; I wouldn’t be a photographer if the world didn’t pull at me in this way.
Today is an especially good day to post this, with heavy snow falling all day, about an inch per hour for most of the day. I think there are some large boulders and a frozen cliff that look quite a bit like this today, and probably nobody there to see it.
Once I saw a great horned owl fly through this gorge at dusk. I’ve never encountered another person there, though sometimes there are footprints in the snow.

Beat up Shade and Sunflower
As the last post featured a sunflower facing west, this sunflower actually was facing west as well.
In 1981 I was young and skinny and wondering what to do and nursing a recent heartbreak, a year out of four years of college, wanting to be a photographer. I was working hard at that, trying to hold onto something. Funny to try to hold onto Photography as the one solid thing in my life — like grasping moonbeams and falling snowflakes. Funny now, but So Serious then. I lived in a shoddy apartment, but with good hearted people. My life was quite full of open hearted friends, and we had an amazing garden. I worked enough to buy food, sheet film and paper and spent the rest of the time with the camera or in the darkroom. I washed a lot of silver down the drain, and crystalized a lot of it onto film and paper too.
I scanned this film today, and also found silver prints of this image in archival boxes. I will print it a bit better now than I was able to in the old days.

© 2011 John Lehet Photography Suffusion theme by Sayontan Sinha