photo by Todd Roeth from the series, Gregory Alan Isakov: Near Nederland, Colorado

This week instead of the usual fodder featured on Camera Reality,
I will be sharing work from the contributors to the first issue of Strant Magazine
which is currently for sale in print (and digital) edition via MagCloud.

The above photo is by Todd Roeth from his series, Gregory Alan Isakov: Near Nederland, Colorado.
The photograph below is by Jesse Groves from his series, Until There Is

(purchase Strant)

photo by Jesse Groves from the series, Until There Is

photo by John O’Connor from the series, Visitor’s Guide

This week instead of the usual fodder featured on Camera Reality,
I will be sharing work from the contributors to the first issue of Strant Magazine
which is currently for sale in print (and digital) edition via MagCloud.

The above photograph is by John O’Connor from his series, Visitor’s Guide.
The photograph below is by Shaun H Kelly from his series, Circler of Circles.

(purchase Strant)

photo by Shaun H Kelly, from the series Circler of Cirlces

photo by Terrance Reimer from the series, Made In Fresno

This week instead of the usual fodder featured on Camera Reality,
I will be sharing work from the contributors to the first issue of Strant Magazine
which is currently for sale in print (and digital) edition via MagCloud.

The above photograph is by Terrance Reimer from his series, Made In Fresno.
The photograph below is by Jonas Jungblut from his series, Straight From The Minibar.

(purchase Strant)

photo by Jonas Jungblut from the series, Straight From The Minibar

I recently built a bed in which it is my intent that my dogs relieve themselves while we are away at work.  The bed is not at all a work of pristine craftsmanship.  It is however of sound craftsmanship and it does serve a purpose.  I purchased two 8 foot 2×4′s, had the clerk at Home Depot cut them down to 6 foot, brought them home and drilled them together in a rectangle with the remaining 2 foot pieces left over from the cut.  I then filled it with wood mulch.  Immediately upon pouring the bag of mulch into the newly manufactured bed one of my dogs hopped in the bed.  Her intent however, was not what I anticipated.  She made a few circles, sniffed, clawed at, and then settled down into the warm mulch to nap.  My dog toilet had become a dog bed.  Within a few minutes the purpose of my craft had been put into question.

I have also recently submitted a body of photographic work to a contest.  It is a body of work that I have exhibited and has been published in a couple of small publications.  It has been rejected for other contests and publications multiple times.  It has also gone through multiple incarnations in which images have been edited out and put back in.  My intent however, with this body of work has remained the same.  As I gave consideration to submitting or not submitting to this particular contest the question that I considered the most, was what will the judges think of my work.  I read the judges list and researched their backgrounds.  In the end I came to the conclusion that I should submit and that perhaps my perspective on photography and the judges perspective on photography were similar.

The progress with my dog bed has been a bit slow.  I expected it to be but the process has been a bit of a frustrating one.  Convincing a dog takes time.  Sometimes they have gotten it right and I feel the process of building the bed is justified.  Other times they are seemingly indifferent and pay no regard to my intent.  This is the frustrating part of the process.  This is the part of the process that gives me anxiety.  Not because my dogs need to be taught and that takes time, but because something I created  might fail.  The progress seems promising, but in the end the dog bed might not serve it’s intended purpose.  The dogs might never take to relieving themselves in a box as opposed to relieving themselves on the concrete patio.  If this happens, it will be difficult to not consider my craft a failure.

I will hear the results of the photo contest in the coming weeks.  My thoughts thus far have been will the judges think my work is good?  What I am trying to tell myself, what I am trying to believe, is that it doesn’t matter.  Thoughts inform our actions.  I do believe that the way we think about something informs our actions and thus our behavior and thus our overall outlook.  This is why the glass half full people always seem to have things go their way while the glass half empty people always seems to be unsettled and full of anxiety.  Once I hear the results of the contest I can hopefully tell myself it does not matter.  What matters is that I created a body of work with intent and purpose.

I should give more consideration to process than results.  This is difficult as we live in a scientific age of which purpose and order is assigned to everything and consilience is the goal.  We attempt to understand things based upon their end purpose.  If they serve a purpose well and complete the intended task then that thing is of worth.  This gives no space then for things to exist and have beauty in their existing state.  I am not suggesting that whatever I touch turns to gold and whatever I create or whatever anyone creates is of beauty.  The creative process requires refining and discipline.  It requires failure as much as success.  Things must not work in order that the next thing does work.  But I am trying to train my thoughts and I want to believe that process is of value and simply being is of beauty.

My recent interests in geography and how geography influences who we are has been informed largely by the work of Ed Panar.  Golden Palms by Ed Panar explores that same idea.  More precisely, it is a book about how geography shaped his initial encounter with southern California upon moving to Los Angeles some years ago.  As the story goes, Panar moved to the land of motor vehicle transportation  without such means of travel and thusly had to make his way by foot.  This took place in a city, as the movie Who Framed Roger Rabbit taught us, that was designed for the car.  Public transit is not even really all that viable a means of transportation as Judge Doom in Who Framed Roger Rabbit told us,

“I see a place where people get on and off the freeway. On and off, off and on all day, all night. Soon, where Toon Town once stood will be a string of gas stations, inexpensive motels, restaurants that serve rapidly prepared food. Tire salons, automobile dealerships and wonderful, wonderful billboards reaching as far as the eye can see. My God, it’ll be beautiful.”

Admittedly Judge Doom was right.  Los Angeles is, despite its destructive and sprawling growth, uniquely beautiful in a very American way.  However, if one has ever traveled through LA the dependence upon the freeway quickly becomes evident and so how different an experience it must have been for Panar.

This is evidenced in such images included in Golden Palms as one of my favorites, shot from an overpass of the 101 freeway.  The image is printed occupying no more than a quarter of the page, suggesting that while it might be indispensable to most, to Panar it was distant and other worldly.  Another favorite image is that of a bright red car shot from the other side of a brightly yellow painted guard rail.  If Golden Palms is predicated upon this pedestrian experience in Los Angeles then Ed Panar does a great job of maintaining that while this might be from a unique perspective it is still LA.  As I mentioned in my post here about Panar’s Out West/Back East I am fascinated by how a place can be defined by the mundane landmarks and fauna that occupy it and those things: the palm trees, the painted curbs, and low slung southern Californian architecture are all there in Golden Palms.  

When we first moved to southern California and I had the opportunity to visit Los Angeles one of the first realizations I had was that The Big Lebowski was about Los Angeles as much as it was about the dude.  The Big Lebowski looks like Los Angeles.  The Coen brothers visualized LA but did so through their perspective.  This is perhaps what we mean by artistic vision or voice; that any body of work from a particular artist has a common thread.  For the Coen brothers, Raising Arizona and No Country for Old Men, despite being very different movies have many of the same characteristics.

photo by Ed Panar from Golden Palms

One of my favorite cartoons as a kid was The Jetsons Meet the Flintstones.  Looking back I believe the reason it was so fascinating was because although these characters were from the stone age and the space age they were very similar.  They were drawn similarly, their voices similar, and the plot lines and experiences were similar too.  Perhaps this is why the movie was made.  At least that is what I choose to believe.  In reality however, I imagine it was some marketing decision.  But sticking with my notion as to why it was done, perhaps it was because they originated from the same place: the minds of the Hanna-Barbera.  And perhaps the Hanna-Barbera team believed in the story that they were trying to tell and that story span from pre-historic times to the future.

Golden Palms tells a story as well, Ed Panar meets Los Angeles.  It is a sincere story and an interesting one.  And it is told from the author’s perspective and it seems to align with a bigger story that Panar is attempting to tell.  Geography influences our perspective and be it expansive freeways or painted curbs those places inform who we are.

photo by Shaun H Kelly, from Circler of Circles

Images from a current project of mine, Circler of Circles have been selected as part of an upcoming exhibit, The Path at Brooks Institute’s Gallery 27 in Santa Barbara, CA.  (more images)

The Path : from May 3rd to June 15th 2012
Gallery 27
27 E. Cota Street
Santa Barbara, CA 93101

Opening Reception :
May 3, 2012 | 5 to 8 PM
(more info)