1. As I sit and listen to the podcast featuring Mr. Roberts Adams, I decided to pile ALL the books I own by, or about him. I have 27 in total. In no particular order they are:-
West From the Columbia 
Turning Back
To Make it Home
Tree line [Hasselblad Award 2009]
Reinventing the West,[with Ansel Adams]
Our Lives Our Children
Notes to Friends
Gone?
Listening to the river
Sunlight Solitude Democracy Home…
Cottonwoods
What Can We Believe Where?*
Los Angeles Spring
Perfect Times Perfect Places
Summer Nights
This Day
I hear the leaves and love the light
The New West
Summer Nights, Walking
From the Missouri West
Commercial Residential [Landscapes Along the Colorado Front Range, 1968-1972]
The Architecture and Art of Early Hispanic Colorado
Denver
Prairie
Why People Photograph
Beauty in Photography, Essays in defence of traditional Values
Along Some Rivers.
For the full scoop on these books, check out my library thing page of the 27 books I own
*I own two copies of this book. One was sent to me personally by Mr.Adams after a brief letter exchange, several years ago.

    As I sit and listen to the podcast featuring Mr. Roberts Adams, I decided to pile ALL the books I own by, or about him. I have 27 in total. In no particular order they are:-

    • West From the Columbia 
    • Turning Back
    • To Make it Home
    • Tree line [Hasselblad Award 2009]
    • Reinventing the West,[with Ansel Adams]
    • Our Lives Our Children
    • Notes to Friends
    • Gone?
    • Listening to the river
    • Sunlight Solitude Democracy Home…
    • Cottonwoods
    • What Can We Believe Where?*
    • Los Angeles Spring
    • Perfect Times Perfect Places
    • Summer Nights
    • This Day
    • I hear the leaves and love the light
    • The New West
    • Summer Nights, Walking
    • From the Missouri West
    • Commercial Residential [Landscapes Along the Colorado Front Range, 1968-1972]
    • The Architecture and Art of Early Hispanic Colorado
    • Denver
    • Prairie
    • Why People Photograph
    • Beauty in Photography, Essays in defence of traditional Values
    • Along Some Rivers.

    For the full scoop on these books, check out my library thing page of the 27 books I own

    *I own two copies of this book. One was sent to me personally by Mr.Adams after a brief letter exchange, several years ago.

  2. Artist Robert Adams, one of my greatest inspirations.

  3. I’m quite pleased with the way this typology is going.
  4. Quality doesn’t mean deep blacks and whatever tonal range. That’s not quality, that’s a kind of quality. The pictures of Robert Frank might strike someone as being sloppy—the tone range isn’t right and things like that—but they’re far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he’s doing, what his mind is. It’s not balancing out the sky to the sand and so forth. It’s got to do with intention
  5. backdooratwork:

2014-03-06 08:21:02

Another new project stumbles forward.

    backdooratwork:

    2014-03-06 08:21:02

    Another new project stumbles forward.

  6. mybackstep:

2014-02-23 08:38:16

This project has moved forward and will continue to do so in fits and starts.

    mybackstep:

    2014-02-23 08:38:16

    This project has moved forward and will continue to do so in fits and starts.

  7. Make work that matters to you, that pushes you and the viewer to see the world in a new way. Make work that is in conversation with history, society, or with yourself. The Art in fine art Pho- tography is the most important piece of it all. Be bold and true to yourself.
    Hamidah Glasgow, Executive Director, The Center for Fine Art Photography
  8. On the one hand a kind of materialism, which includes the Marxist view of history. On the other a sense of the sacred, the religious if you like. This duality never felt contradictory to me, but most other people thought it was. It is beautifully resolved by Spinoza, who shows that it is not a duality, but in fact an essential unity.
  9. Of course it’s not the same form of connection - but oh will I take it & it’s My non-business B-dear.
    I have the internet to connect with 100s -1000s of folks now! not just my tiny selected mailing list.
    I love Mac-screen picture-viewing - if someone wants to hold one or 2 = For Sale!:
    Open 24/7/365 @ billdane1938@gmail.com & peoples’ prices = we are the 99.9%ers.
    Or drag from my Website for free! Have a mini-picture. I’m a mini-commonist.
  10. Four minutes is simply a very long time to stare at any image: Even the greatest Cezanne rarely gets that kind of unwavering attention. But that’s the kind of attention that Warhol’s “Screen Tests” demand of us. Since “nothing” happens in them – since there’s no larger plot or configuration to cling to – we can’t afford to look away, for fear of missing some telling detail. (Cezanne is full of details, too, of course, but we know that they will endure a lapse in our attention.)
    Blake Gopnik talking about Warhol’s screen test, but applies equally to any Art.
  11. The Art World’s Dirty Secret….

    The big secret in the art world is that today nearly everyone agrees that art is a dirty business, though few speak out for fear of banishment from the ultimate insiders’ club. It’s high time the art market was cleaned up: by the government, by self-regulation, but above all by a resolve among club members to straighten out a trade that, when measured against any other legal industry, is downright criminal

    The viallge voice

  12. Batchen combines Foucault and Derrida to argue that photography, like writing, is more than an inconsequential medium. Photography is, by definition, the writing of light. It is a paradox, a “message without a code” in which both nature and culture are directly implicated in a mutual play of power dynamics. Batchen advances the notion of “photopower” to reinvest photography with the value it lost to positivist aesthetics.
  13. I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.’ Let me get this straight, I say, astonished: each image he has produced is the result of one single shot? He nods. And what happens, I ask, if you don’t get the picture you want in that one shot? ‘Then I don’t get it,’ he answers simply. ‘I don’t really worry if it works out or not.

    I figure it’s not worth worrying about. There’s always another picture.’ He makes his genius sound almost accidental, I suggest. He thinks about this for a while. ‘Yes,’ he nods, smiling. ‘There’s probably something to that. The “almost” is important, though.’

  14. So what last night’s sale proves, more than anything – if it needed proving once again – is that the prices of pictures tell us almost nothing about their worth as art. The very fact that a 1969 Bacon, or a 1907 Klimt, or 1909 Munch, sells for many times what someone might pay for a 1912 Cubist Picasso tells you how out-of-whack things have become.

    This; is why I price my prints the way I do, my current CCP entry has a price tag of, $33,333.33. Because all art is worthless; great Art priceless, I feel.

    Source, Blake Gopnik on Art

  15. As it turns out, laypersons usually have a much better understanding of photography than critics or theorists. Whenever I talk to people who are not part of the world of photography, many of the concerns that appear to give theorists or photographers endless nightmares simply don’t appear to exist. Too many photographs? Who says so? Can there be a thing such as too many photographs, and why would that even be a problem?