Matt Suess – Dramatic Landscape Photography

Just in time for the holidays is my very last art festival for 2009.

Located THIS WEEKEND in North Tucson, AZ, be sure to stop by and bring home your favorite photographs of mine for gifts to give to others or to give to yourself.

For directions and more information please click on this link: http://bit.ly/57eIFM

Just a quick post to let everyone know that I will be at this weekend’s Carefree Art Festival in AZ this Fri – Sun. I will have many of my artwork pieces available for purchase. The show is produced by Thunderbird Artists. For more info click here: http://bit.ly/4kbPIQ

Image enhancement has always played a huge & necessary role in my work. Many, many years ago when I used to print my photos in my b&w and color chemistry darkroom I was always working on enhancing the final print – from dodging and burning to masking using cut sheets of paper to adjusting the settings on the color enlargement head – anything was fair game in getting the results I wanted.

The same holds true in my digital darkroom. Look at the above photo, titled “Entwinement”. It is a new photo from my Contemporary Collection. What is remarkable is how poor that photo looked originally, straight out out the camera, with no adjustments made. You can see below how pale and lifeless the original photo was.

By shooting RAW I was able to, starting in Lightroom, find many of the hidden colors, textures and details that were part of my vision when I originally photographed it. All that texture, color and feeling was there somewhere in the original file – I just had to spend the time searching for and bringing it all out.

For me the image enhancement does not end with Lightroom. After I get the file adjusted and in the ballpark of my original vision, the file is then brought into Photoshop to complete the transformation. Sometimes the final results are not that far from the original, straight-out-of-the-camera file. Most of the time, however, it is. “Entwinement” was a particularly dramatic difference – many files are not that extreme.

My goal has never been to show you what the camera saw and recorded. The camera is just a mechanical device, devoid of all emotion & feeling, lacking in color & intensity. My goal is to share with you my vision – a vision that comes from a living, breathing person – not a cold, plastic & metal box.

I love working in my digital darkroom just as much as photographing behind the camera. I get just as excited watching a new print slowly come out of the printer as I did watching a print come to life in the developer tray of a chemistry darkroom.

The excitement, of course, is due to seeing the final representation of my vision that started by tripping the shutter on a camera, grew in the enhancement & processing in the digital darkroom, and came alive after the printer finished laying down it’s last drops of ink.

I can be terrible with dates – just ask my family. I am usually late with birthday cards and have a hard time remembering anniversary dates. I even had my wedding date etched inside my wedding ring to help remember the date! I quit cigarettes over 10 years ago. Missed the anniversary date when it came up – I remember it was in October because I quit on my birthday – perhaps my wife Marci remembers the exact year.

So it should be no surprise that after reading about another photographer on twitter who is celebrating 25 years of self-employment that I just happened to realize that this month marks my own 10 year anniversary date of self-employment. Thank God for twitter – almost missed another anniversary.

It was 10 years ago this month that Marci and I moved from CT to Cape Cod, Mass. I had just left my full-time staff photographer position at the Connecticut Post Newspaper to once again jump into the freelance waters. My job at the Post was the last I held as a full-time (or even part-time) employee working for someone else.

While living on the Cape I freelanced for many organizations including the Cape Cod Times, Boston Herald, Cape Cod View Magazine, and USA Today to name a few. I did spot assignments on the Cape for a number of other newspapers around the country. Being a digital photographer allowed me to instantly transmit photos hundreds and thousands of miles away – this at a time when many newspapers were still shooting film. I sold my images to newspapers, books, magazines, etc.

I also did some corporate and advertising work. And of course, being a freelance photographer, I also shot a number of family portraits and photographed a limited number of weddings each year. Every day was different and I enjoyed and thrived working for myself.

While still on the Cape, back in 2003, I began selling my own artwork at art festivals. And since moving to Phoenix, AZ in 2006 some 3 years ago (October marks the 3 year anniversary – hey I remember that one) I ended up leaving behind – for the most part – my freelance career and now sell my artwork full-time. While I do accept occasional advertising/corporate assignments I have done nothing in regards to editorial, portrait or wedding  photography since arriving in Phoenix. Creating and selling my artwork consumes most available time and it is something I enjoy tremendously.

Looking back on the past 10 years there are many things I remember fondly about my photojournalism days: getting the shot no one else got at a spot news event, the rush of trying to make deadline, the wonder of what will happen in the news day today, getting access to events the regular public is not able to get, etc. And the fact that I was able to experience it all, working for myself, makes it even more enjoyable.

Working for oneself is not easy. It takes dedication, perseverance, commitment, knowledge, ability and desire. It takes marketing skills as you are constantly selling yourself and your work. But above all it takes love – if you love what you do you are heading in the right direction and are leaps and bounds ahead of others that don’t love what they do. If you love what you do your desire to succeed is greater than those that don’t. And if you love what you do you find yourself happier in all aspects of life.

Here’s looking forward to the next 10 years of self-employment as a photographer.

Introduction

A while back I published an essay titled “Must Be Some Camera“. The essay discussed my encounter with an individual at an art festival who believed that the better the camera, the better the photos.

In that same vein contributor Alain Briot shares his response to the ever popular questions at art festivals such as “Do you manipulate your colors?” or “Is this real?”.  Any photographer selling their work at an art show has most likely been asked that question once or a thousand times. The following is Alain’s answer to that most popular of questions.

Matt Suess

Just Say Yes
by Alain Briot
First published in 2006 on Luminous-Landscape.com

If you can’t see it, it doesn’t count.
Ctein, talking about photographic technique

1 – Introduction

As a fine art photographer if you haven’t been asked this question you eventually will: “Do you manipulate your photographs?”  Sometimes it comes under another aspect: “Do you change the colors?”  And occasionally it goes straight to the heart of the matter: “Is this real?”

There is a certain percentage of the public who believes that fine art photographs must represent reality.  There are people who do not know that there are differences between what they see and what the camera captures.  Finally, there are individuals who do not understand that a photograph is a two dimensional representation of reality and not reality itself because reality is far more complex, three-dimensional and perceived by us through five senses and not just one.

Some people are willing to change their minds when these things are explained to them.  Others have their minds made up and do not want to be bothered by the facts.  Those are the ones that I am referring to in this essay.

The people in this last category not only believe that photographs must represent reality, they also believe that to achieve this photographs must be unaltered. They believe that a photograph must be printed exactly the way it comes out of the camera. While this may be true for certain types of technical photographs or for photographs used to illustrate news reports, when it comes to art and to my work I believe the exact opposite to be true, namely that photographs must be altered in one way or another in order to have a chance to represent the reality that I perceive.

My premise for this essay is that a fine art photograph, created by an artist with the goal of expressing himself or herself, is a representation of this artist’s view of reality, a representation of this artist’s vision, and not a representation of the world as others may see it.  This can be a blessing or a crime, depending on your opinion regarding this matter.

Eventually, this is a matter of opinion.  Personally, my opinion is that a photograph cannot capture reality as we experience it physically and I can back it up with facts (I do so in my previous essays on this subject including Of Cameras and Art and The Eye and the Camera).  However, I found that debating this point with people who do not agree with me isn’t necessarily the smartest decision.  So, I propose here a different approach, one that works great for me.

2 – A little bit of history

For a long time I didn’t know what to say when confronted by people asking me if my work was real, if I manipulated the colors, or if I changed something to the scenes I photographed.   In fact, as a fledging artist unsure of where I stood, I felt threatened by these questions and was more concerned with defending myself than with anything else.

At that time I believed that explaining my artistic approach would help.  So I answered by saying that this — the color changes, the manipulations, the modifications I made to the image — were representative of my style and that my goal was to show how I saw the world.

I also explained that I preferred to call what I do “enhancements” or “optimizations” rather than “manipulations,” because I perceived the later as a derogatory statement while I perceived the former as a positive and complimentary statement.

Unfortunately, my efforts were to no avail. These fine differences in terminology were lost on these people. Their minds were made up and they did not want to be bothered by the facts.  My facts may have been accurate, thought-out and sophisticated, they were facts nevertheless. While they may have had a chance to be heard in an academic setting, they were completely useless in a real world situation.

I also thought that doing all this would help in regards to selling my work.  I believed that I could change people’s mind and that once this was achieved they would buy my photographs. What I discovered was how many people have their minds made up and don’t want to be bothered by the facts.  I also discovered that people who do not believe what you say, or who do not like what you do, will not buy your work.  After all, I am selling art.  And to buy art someone has to like your work and often like both your work and yourself.  When people don’t like one or the other, or worse don’t like either, trying to make a sale is not just futile, it is delusional.

What I discovered overall was that my explanations had little effect on these people.  While some believed me, most were unconvinced.   What I did not know then, was that the majority of those asking these questions were primarily interested in starting an argument.  They knew that what I showed in my work was my vision.  They asked if it was real not because they wondered about what my answer would be, but because they did not like my vision of reality.  Certainly, a few – a minority—really did not understand how my work was created.  This minority was satisfied with my answer that this was my style, my vision of the world and often they would buy from me after I explained my artistic approach.  Those that I am talking about here are the others, those that wouldn’t’ accept that answer as valid.

I finally saw the light and decided on a different course of action.  I decided that in front of obvious suspicion regarding the honesty of my answers, I would give the most direct and least questionable answer possible. I decided, in a sense, that I would act as if I was in a court of law, where the party being questioned, the party whose actions are at stake, is asked to answer with a simple “yes” or ‘no”.  In short, and to get to the point, I decided to just say yes.

3 – The Art of saying Yes

When you are asked “Do you manipulate your colors?” and you answer “Yes” you create an entirely different situation than when you start explaining why you do what you do.  When you say “yes”, you state the facts and nothing but the facts: “Yes, I do manipulate my colors.” Although the person asking the question may not like your answer, it is difficult to question this answer without questioning your personal integrity.

When you do explain why you do what you do, you are in effect trying to legitimate your actions.  In that case, three things need to be explained.  First, trying to legitimate your actions implies that you know they may not be perceived as legitimate.  Second, you are leaving it up to the person asking the question to decide whether to believe you or not.  Third, you are opening the door for a lengthy discussion because the person asking the question now has the option of taking apart your answer point by point.

In other words, although I was speaking the truth when I tried to explain myself, I was giving control to the person asking the question. Once I had given my answer, they were in control because it was up to them to decide whether they believed my explanations or not, and up to them to decide how they were going to respond.  I was also confusing the matter by explaining in a lengthy manner what could have been answered with just one word: yes or no.  They could legitimately ask why I was not just saying “Yes” or just saying “No”.  They had grounds to question my integrity regarding what I was really doing in my work.

On the opposite, once I decided to just say “yes,” I took control of the situation. Why? Simply because when someone answers a question in the most straightforward manner possible, the two only options available are to either believe this person or not believe this person.  If you don’t believe that the person is saying the truth, then you must come back with a question as straightforward as their answer, and most likely you will hesitate doing so because you will expect a second answer just as straightforward as the first one.  You also run the chance of coming across as insulting.  After all, someone you just met answered your question in the most straightforward and to the point manner possible.  This person can, if pressed further, legitimately ask what reasons you have to not believe them or ask if you are suspicious by nature or if you have a problem with what they do.  Finally, they could ask if there is something wrong with you in the first place.  Neither option is bound to be pleasant for the person asking the questions.  And as a general rule, human beings do not purposefully engage in unpleasant actions.  Masochists do, but I discovered that few masochists frequent art shows or hang out at art galleries. Not enough pain in sight perhaps, not even when you antagonize the artists for your own gratification.

For example, if someone asks me “Do you manipulate your colors?” and I answer “yes” and they then ask “Is that so?” my answer will be another “yes”.  I could say “yes sir” to emphasize my answer, or just because I feel that they need a longer answer, but that is all I would say at a show of my work.  If they ask “how do you manipulate your colors?”  I will answer “in Photoshop.”  And if they say, “Oh, I see, you use Photoshop!”  my answer will again be “yes” with or without “Sir”.  Of course, the exact words being used and the exact questions being asked vary in their grammatical construction according to the situation, but in my experience, and my experience is extensive, this is how things usually go.

4 – Drama

Let’s back up a little. My Creative Writing teacher at Northern Arizona University, Allen Woodman, defined drama as being: “two dogs, one bone.”  As we all know, such a situation can quickly lead to a dogfight because most dogs will want that one bone for themselves.  Dogs rarely share with other dogs.

With humans fights often occur for the same reason: two individuals both wanting the same thing for themselves.  If we metaphorically apply it to the situation discussed in this essay, photographers or photography enthusiasts often enter into a conflict regarding reality because they both believe they describe reality in their work.  However, their work looks radically different, although they both photographed the same subject.  In this situation, who is right?  Who can claim to represent reality? Clearly, it must be one or the other but not both.

This is usually what is at stake when someone looks at my work and asks: “Do you manipulate your colors?” or “Is this real?”  They question whether I claim to represent reality or not.  If I say that I do, most likely we are going to have an argument because most likely they see reality differently than I do.  Therefore, if they believe there is only one possible reality out there, one of us will be wrong.  Two photographers, one reality: problem.

However, my answer does not point to a conflict. My answer is not “yes, I represent reality”  My answer is “yes” I do manipulate my work.  And “yes” I manipulate reality.  Therefore, my reality may be different from yours.

At conferences I give a longer answer by explaining that “In fact I clone, change the colors, alter the contrast, and even remove houses that look ugly in the middle of a pristine wilderness.  In short, I modify reality. What you see is not what I photographed.  What you see is how I felt when I created this image.  What you see is the world as see it and as I want to show it.”

“Furthermore, I feel great about doing what I do.  In fact, I love it and I have never been happier than since I gave myself the freedom of doing so!  Not only that, but I write essays describing precisely not only how I do what I do, and I teach others so they can do it too.  I even give workshops and seminars and conference presentations about both the techniques I use and the philosophical and rhetorical views that underline my position. And if there is anything else you would like to know about this subject that I have not covered yet, don’t hesitate to ask. I may have overlooked something, and if so I will be glad to fix this right away.”

What I am saying, to go to the root of my message and of my artistic position, is that there isn’t just one reality. Instead, there are multiple realities.  And if we limit this discussion to just myself and the person asking the questions mentioned above, then there are at least two different realities: theirs and mine.  We both see the world in different ways.  I see the world the way it is depicted in my work, and they see the world whichever way they like.  That is OK.  They can have their reality, I can have my reality, and I don’t see a problem with that whatsoever.

I don’t claim that their reality is wrong or that my reality is right, or that their reality is right and mine is wrong.  In fact, I really don’t care which reality is right and wrong.  All I know is that I love my reality. It makes me feel great, makes me want to get out of bed in the morning to create more of it, makes me want to go further in describing in greater details exactly what it consists of, and above all it makes me want to experience it as much as I can.  In short, I love my reality and I live in it happily.  All I ask is that they don’t impose their reality on me anymore than I impose my reality on them.  It is a free country and they can do whatever they please, but their freedom stops where mine begins.  We have the same rights, and we should both remember that. We may both believe that we are right in depicting the world the way we do in our work, but we could just as easily be wrong, not just them, me or you but all of us.

5-Technique is meant to be seen

There is another aspect to this, and that aspect is technique.  Technique, in my view, is meant to be seen and should be visible.  If this technique involves manipulating or enhancing the image, depending on which side of the fence you stand on, then this enhancement, or manipulation if this is what you want to call it, must be visible.

Why?  Because I want others to see the technique that I use.  Because I want my audience to see what I did to the image, see how I made my vision a reality through the use of a specific technique or techniques.  In fact, I want this to be visible so much that starting April 2006 I am providing the master files to my images with print purchases.  I do this so others can learn how to do what I do, and also to show how I did what I did.  In effect, I am taking advantage of one aspect of digital technology, which is that the digital image file can be duplicated countless times and still be as good as the original.  Such is not the case with a negative or a transparency, whose quality degrades dramatically with each copy made from the original.

You may see a contradiction between the above statement and my desire to remove all defects from the image captured by the camera, as listed in my previous essay “The Eye and the Camera.”  The fact is that there is no contradiction.  Removing the defects introduced by the lens-camera combination, or by the photographic capture process as a whole, is different from desiring to make the technique I use visible.  The former addresses my desire to remove unwanted artifacts or effects introduced by the camera.  The later addresses my desire to make the technique I use an inherent and enjoyable part of the image.

For example, my goal when removing the defects introduced by the camera, to name but a few, is to have details in both highlights and shadows, to remove the vignetting introduced by some lenses, and to remove the noise introduced by the sensor or the grain introduced by the film.  My goal in doing all of this is to remove the unwanted aspects of the photographic process and to bring a remedy to what I perceive as defects in this process.  We may think of this process as bringing the image to a neutral state when it comes to image capture, so that the image is free of defects introduced by the photographic process.

This is the first part of a two-part process: part one consists of removing the defects and part two consists of introducing my feelings into the image.  This first part is the part I wish to not be visible in the final image.

On the other hand, when working towards expressing the feelings I experienced when I created the image, my goal is to adjust color, tone and contrast so that the image is a representation of what I felt and not just a representation of what the camera captured.  My goal is also to bring all the parts of the image together so that they function together as one, instead of clashing with each other as is often the case in images whose tonal scale and color palette has not been adjusted.  This is the second part of the process, the one for which I wish to make the technique I use visible.  In practice, this technique is made visible through the colors that I use as well as through the contrast and tonal scale adjustments that I decided work best for this image.  This second part is the part I want to make visible to my audience in the final print.

There is also a matter of quality.  The only way to tell if a technique is good, effective or again mastered by the practitioner and the master, is to see it for ourselves.  Otherwise, we rely on the word of others, on the opinion of someone else but us. Mastery is something that must be witnessed, something that must be seen.  If one wants to be recognized as a master, one cannot have as a goal to make his technique transparent.  One must try as hard as possible to make his technique something that can be seen, something visible to all.

Technique, in other words, must become part of the work.  It cannot only be the path that leads to the creation of the artwork.  It must be the artwork itself.  Just like the brushstrokes of a specific painter define this painter’s work as much as his subject matter, the particular colors, tonal scale and contrast adjustments of a fine art photographer define this photographer’s work as much as the scenes he or she chose to photograph.

To return to my main point in this essay, and to just saying yes when asked if my work is enhanced or manipulated, I must give this answer in order to tell my audience that it is my intention to make my technique visible.  Indeed, I often emphasize my yes answer, by saying yes!  In writing, there is no other way to show this subtle difference besides placing an exclamation point after the yes, but in reality this slight change conveys my love and my passion for the work that I do and for my desire to share it with my audience.

6 – Conclusion?

Bringing a conclusion to this essay is difficult.  On the one hand, there is a lot more to say on the subject.  On the other hand, some may argue that such an essay should never be written.  The first position is correct the second one is incorrect.  There is a lot more to be said on this subject, and this essay does need to be written because finding the proper answer to these questions is very difficult.  As I said at the beginning, if you are a photographer and you show your work to other people, regardless of whether you sell your work or not, you will be asked these questions. If you haven’t yet, you eventually will. It is only a matter of time.  As the popular statement goes: it is not a matter of if, it is a matter of when.

And when the time comes, you better have an answer.  Otherwise you will join the ranks of the stumped. I don’t know about you, but personally I hate being stumped.

So yes, this essay definitely has a reason to exist.  This reason is to help you find out where you stand.  My answer is “Yes” because I do believe, and for good reasons, that I manipulate reality.  Your answer may be different.  For example, if you believe you do not manipulate reality, then your answer should be “No.”

My goal is to create images that represent the world not as it is, but as how I see it, how I feel when I am in a specific location and how I perceive this location as a whole.  Not just the part that I see, but the part that I don’t see: the melting sap of Pinion pines on a warm summer days; the call of a blackbird bouncing off a canyon wall; the heat waves floating in front of me over the bare sandstone; the multitude of sensory inputs that are, by nature, non-visual.  After all, a photograph is nothing but something we can look at.  Yet, the reality of the world is much more than that.  The reality of the world is something that we experience through five senses: smell, touch, hearing, taste and finally sight.  A photograph only makes use of the fifth sense.  It is a partial perception of the world, representing at the most 1/5^th of all that we sense. I wish those that argue that unaltered photographs can represent reality would understand that. But, as I explain, it is not in my power to change their mind.  Therefore, I limit myself to just answering “yes” when they ask me questions about whether my work is manipulated or not.  Of course my work is manipulated.  How could it be otherwise?  Only a fool would believe that it isn’t.  Yes.

To some extent, my goal is to include in my photographs as much of what we perceive with these other four senses as is possible to include in a two dimensional medium.  It is also to transform the world from what it actually is to what I wish it were.  For example, I may photograph a depressing yet otherwise beautiful scene, and if all it takes is remove the houses that mar this scene, or brighten the colors, for this photograph to bring joy to my heart instead of sadness, then I will unashamedly do so, regardless of what others might think.  If someone wants a depressing photograph, or a photograph in which all the houses that mar the hills in an otherwise beautiful location are present, I know for a fact that there are countless photographers out there, and that one, if not several of them, will either have exactly what these people want or will be willing to create exactly what they want.

So no, don’t write to me saying that you wish I didn’t do what I do, or that you wish I didn’t manipulate reality, change the colors, remove things, or alter the contrast.   Don’t write to me to ask that I do not make the world more beautiful, more joyful, more inviting, or more attractive than it really is in your opinion.  Instead, write to me to tell me that you like what I do and that you wish I would go further.  Write to me to say that you see my point, that your mind is not made up and that you are willing to be bothered by the facts.  Write to me to say that you love my work.

Why?  Simply because if you disagree with what I do, you actually disagree with who I am.  You see, what I show in my work is part of me, part of who I am and part of how I perceive the world. It is that part that I make visually accessible to all. It is that part that I am willing to share with others.  And no, I am not willing to change.  Definitely not. I am not willing to see the world as a depressing or gloomy place.  Call me delusional if you wish, but do keep it to yourself.

7 – Audience

There is another aspect to this, and this aspect is the audience I am addressing.  I am addressing an audience who loves what I do.  I am addressing an audience who has loved what I do since I started, nearly 20 years ago now.  I am addressing an audience who is growing daily and who wants to see me go further in my approach, in my practice and in my style.  An audience who knows that I manipulate colors, change things around a little, and who not only does not care one bit that I do so but actually loves that I do what I do.  I am addressing an audience who loves my work for what it is.

So no, don’t even give it a try. And if you do, don’t expect me to care.  I don’t and I won’t.  I have already answered the question, and the answer is yes.  Yes, I manipulate my work, change the colors and much more; and yes, I feel great about doing so; and yes, I am proud of it and have no remorse whatsoever; and yes, I have no intention whatsoever of changing this approach.  In fact, this is my style.  This is me.

And if you are a photographer, I strongly encourage you to follow my approach.  If nothing else, it will free you and liberate your creativity.  I know it does for me.  Remember that you must be free in order to be an artist.  If you do not feel free to create whatever your heart desires, then you might call yourself an artist, but you are not really an artist.  Art is personal expression.  It is the expression of your personality, of your vision, or your view of the world, of your perception of reality.  Art is not doing something because you believe someone else may like it better than what you would otherwise do.  Art, in short, is freedom.

8 – In closing

What is art is another discussion altogether, one that I will address in a future essay in this series.  For now, remember that the most effective answer to a question designed to stump you is the shortest, most direct and most honest answer you can possibly think of.  In this situation it is a resounding Yes or a resounding No.  It all depends whether you believe that your work is manipulated or not.

In general, and in closing, it is best not to act defensively when you find yourself confronted by someone asking questions such as the ones I mention in this essay.  Often, these questions are aimed at making you take a defensive position.  Unfortunately, if you do so you find that you have to defend yourself in regards to actions that you are perfectly free to conduct.  Actions that, eventually, are nobody’s business except your own.  Actions that, furthermore, are perfectly legal but that your interlocutor may want you to feel are not.  Unfortunately for them, what is illegal are things such as loan sharking, drug dealing or pistol-whipping a priest.  It does not include enhancing a photograph for artistic purposes.  You can’t be arrested for doing it, you can’t be taken to court and you can’t be placed on probation or otherwise legally punished.

The best solution for people who really do not like your work and who do not want to be bothered by the facts is to move on and go look at the work of an artist that they like.  Therefore, if they ask you questions, there is no reason for you to feel threatened or act in a defensive manner.  Just tell them the truth, and let them believe whatever they want to believe.  Remember, if they don’t like you or your work, they will never buy your work.  And if they compliment you about your work, they are either lying or pulling your leg.  So just say yes and let them be.  That is what I do.

Alain Briot
Arizona
December 2006

Alain Briot creates fine art photographs, teaches workshops and offers DVD tutorials on composition, printing and on marketing photographs. You can find more information about Alain’s work and tutorial on his website at http://www.beautiful-landscape.com

Alain’s latest book,  ”Mastering Photographic Composition, Creativity, and Personal Style” has just been released. You can order it direct on his website at this link or it is available on Amazon at this link.

This past weekend I attended what was probably the smallest art show I have done since I started selling my artwork at art festivals 7 years ago. Nestled amongst pine trees in the cool mountains of Pinetop, AZ the show – run by a great promoter and artist himself by the way – has a wonderful layout and environment.

The show, in its 14th year, is held outside next to a working gallery called the Art Barn which houses about 10 artists. Artists like myself are juried into the show and setup our booths outside alongside the Art Barn. The application mentions that there is room for as many as 70 booths.

Like many shows lately, artist attendance was way down this year. In fact there was just 7 booths outside! There were a number of last minute cancellations and a few no-shows. The economy has been reducing show attendance of both patrons and artists, and this show was no exception.

Yet even in these trying economic times there are those willing and able to make investments in art. Small art shows are a perfect place for the patron to really talk to the artist. Crowds are light, there are less distractions, and many art lovers themselves prefer the small quiet shows compared to the 400+ booth, 250,000+ attendance behemoths.

As an artist, doing these types of shows can be quite a joy. Setup is relaxing, being able to park directly next to my tent to unload and setup with no hurries. Free onsite RV parking just a short stroll through the pines with plenty of room for our dog to play just adds to the enjoyment.

Crowds were light this weekend, and Sunday’s thunderstorm at 3:00 killed the show that afternoon (the show ran Saturday – Monday). Yet patrons were there to buy. Among this weekend’s sales were two 60″ pieces to two new and excited collectors of mine. One piece is going above the new home buyers’ bed. The other piece the collector is not yet sure where she is going to display it just yet.

Packing up on Monday afternoon after the completion of the show was just as easy as setup. It is not often one can have a relaxing weekend working an art festival, but small shows often allow the opportunity to do just that and still connect with patrons and make sales. Not to mention the temperature was some 30 degrees cooler than my hometown Phoenix. What could be better?!?

Today I added two new photos to my new Contemporary Collection: “Three Among Three” and “In the Woods, Lost”.

Both were photographed this summer in Colorado.

“Three Among Three” has a very interesting composition. I spent quite a bit of time photographing these trees, with this photo selected from among the last few pictures taken. I love the three nearly identical trees in the background, surrounded by three other trees – one in the background and the other two in the foreground. The outer two trees leaning away from center helps balance the entire image, while the tree right up front and almost center helps give depth.

While I wasn’t lost when I photographed “In the Forest, Lost”, I was hiking in a pine forest in Colorado where almost everywhere you looked appeared the same. I could almost imagine how someone could actually get lost in that area. This photo represents what that feeling might be like, being surrounded by beauty but not quite sure of where you are.

Feel free to add your own interpretation of these photos in the comments section below.

While I was photographing in Colorado last month I came across an iPhone app from bjango called Darkness. I heard someone recommend it in a twitter stream, mentioning that it is a great app for sunrise and sunset times. After taking a quick look at it in the iTunes store I immediately purchased it. Darkness does much more than provide sunrise and sunset times. In fact, Darkness is absolutely a must-have iPhone app for photographers.

For starters Darkness is a world clock. It has a database of over 20,000 cities worldwide. Custom cities can also be added. Darkness also uses your iPhone’s GPS to provide you with information based on your exact location. You add cities to the application’s main screen by clicking on the plus sign at the bottom and searching for your city. You can also add as many cities as you wish.

The main screen not only shows you the time and date of your current location and favorite locations, but it also gives you a graphical representation of how much sunlight is left (just to left of time), as well as sunrise and sunset times and the current moon phase.

If this was it to the application I probably wouldn’t have gotten it. Knowing the sunrise and sunset times when out photographing is extremely important to me – but one can get that info for free from Weather Channel’s app. What really sealed the deal for me, making this a must-have, is the detailed info it provides as seen in the next screenshot.

Lets say you’ve arrived at a new location to photograph early in the day and you are looking for a great composition for a sunset photo. You know what time sunset is at, but you are not quite sure exactly where the sun will be setting. Knowing where that sun will set can be important information wether you are a landscape, nature, wedding, portrait or commercial photographer.

By simply tapping on your current location on the main page you are taken to a detail page that not only shows you the sunrise and sunset times, but also the aziumth (the azimuth refers to the angle between due north and the point on the horizon the sun is currently over). Using either a compass or the built-in compass on the iPhone 3Gs you are able to now know just where that sun will set (or rise). The aziumth is also included for the moon as well.

When still viewing this detail page, holding the iPhone in landscape mode will provide you with a globe view of the current sunlight and darkness of the entire planet.

The application also provides you with the current azimuth and altitude of the sun as well as “noon”. Solor noon, as defined by Wikipedia, is the moment when the sun appears the highest in the sky (nearest zenith) compared to its positions during the rest of the year. Think of the noon time Darkness provides as the time of day with the least amount of shadows.

Civil, nautical and astronomical twilight times are also provided.

Tapping on the moon info from the main page will bring up the moon details page. Here you are presented with a graphical representation of the current moon phase as well as it’s azimuth and altitude, age, illumination and distance. Also viewable is when the next phases of the moon will occur.

Wondering where in the sky  the moon was 3 years ago that gave you that great light during your nighttime photo shoot, or when and where the sunrise will be during that upcoming photo trip next year? Simply tap on the calendar icon in the upper right hand corner of the application and set the time to any date you wish to view the solar and lunar information on that date.

I have found this application to be an invaluable tool on my iPhone. Not only has it helped me during photo shoots, but at art festivals as well. As many readers know I sell my artwork at fine art festivals throughout the Southwest. Since installing this application I have used it at my art festivals while setting up my tent. By knowing were the sun is traveling throughout the day I can plan in advance how much sunlight will hit my booth. Knowing this plays a direct factor in how I set up my booth, be it extra awnings to protect from the sunlight, or a different setup to let more light in from not having the direct sunlight. I have setup my booth in complete darkness at night knowing exactly where the sun would be the following day.

Darkness is visually pleasing, quick and responsive, and easy to use. Like I said before, it is a must-have iPhone application for any photographer whose spends part or all of their working day outside. Darkness costs just $1.99 from the iTunes store (and is currently at the time of this writing on sale for $0.99).

Over the last few days I have fully processed in my digital darkroom and printed 3 of my newest photos. All three are from my upcoming “Contemporary Collection”. These new pieces are quite a bit of a departure from my regular work. I am so excited about this new Collection and can’t wait to officially announce the entire collection by the end of August or early September.

The photos were created by using a long shutter speed while intentionally moving the camera. They were photographed during my 6-week trip in Colorado this summer. I printed them myself on an acid-free pH neutral based cotton/polly canvas that I then stretched onto wood stretcher bars. Each piece measures 36″x54″.

I will have more information when I formally announce the new Collection, but these new photos will only be available in the sizes of 24″x36″ and 36″x54″. They will also only be available in editions of just ten in each size!

If you are interested in my new pieces and want to be one of the first to order one (remember, only 10 pieces are available in just 2 different sizes), email me with the subject of “Contemporary Collection”.

The above video shows “Of Feathered Grass” being printed in my home on an Epson 9880 archival printer.

The other day I posted the first two new photos that will be a part of my upcoming Contemporary Collection. The new Collection, which will be formally announced at the end of August or early September, features photos taken during my recent Colorado trip. You can read more about the new Collection here. Be sure to email me with the subject of Contemporary Collection to be the first to know when the entire collection is available.