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Years ago I found myself with access to a violin. I love the sound of a violin. There is something about a beautiful, single note when played by an accomplished violinist. There is a richness. . . a richness of sound. . . a deep resonance, with harmonious overtones in just a single note. I thought this can’t be that hard, you just draw the bow across the string and out comes the sound. Not quite for me though. I even resorted to reading a little in the beginner’s book on bow technique. But, no matter how hard I tried, it always sounded like someone dragging a heavy metal chair across a concrete floor. It was immediately apparent that I really did not want to learn the technique that bad. That was the end of my effort with the violin.

So, what does this have to do with photography you ask? Well, maybe nothing. . . maybe a lot. . . depends on your point of view and interest. No matter what the commercial says, there is no easy, quick way to anything. . . and. . . believe it or not, you can never have it all, and there is no free lunch! Life is about choices. If you spread yourself too thin, you will never achieve anything. If you sort of think you are interested in LF or ULF photography, you are setting yourself up for failure. LF, and especially ULF, is not easy, not foolproof, and is hard work. There are many pitfalls that will frustrate and test your patience. If it can go wrong, it will! You have to really want to work with LF or ULF. You have to be able to find your way through all of the little things that will ruin your every effort. If you are determined, and if you really have the desire, you can, and will master the craft. Persistence and patience will pay off in the long run. But, if you are looking for instant gratification, find another interest.

I would never recommend that anyone jump into LF or ULF photography. It is just not for the faint of heart. . . those that are not dedicated enough to invest in the time it takes to master the process are doomed to failure. Sort of like playing the violin. I am really glad I didn’t buy a violin just to find out I actually didn’t want to learn to play the thing. If you only have a casual interest, you just may be better off letting someone else do the fiddlin’ around.

JB

In the last entry I talked about making film notes in the field. That is the first step in the process of record keeping. I didn’t mention the last step which is negative storage. Each negative is marked on one edge with a unique number, then inserted into a clear sleeve then into an archival envelope. Each envelope has the negative number written on the upper edge. The envelopes are then placed into archival boxes, which are labeled with the contents. Also, the smaller film is proofed on our standard paper. These proof sheets are punched, and filed in binders. That pretty much sums up the negative end of the process.

The next step is printing, and yes, we keep notes on the printing process. As each print is worked out in the darkroom, we have printed sheets that we use to record the process. We make our own print planner sheets using the computer to document every step in the darkroom. Our print planner sheets have spaces to record all pertinent information for the creation of a finished print. It includes the negative number and date, along with the print date, printing paper, developer, enlarger settings and such. The print planner sheet also has a series of boxes to record exposure manipulations. . . burning and dodging. That way if we ever need to go back and reprint, we have a record of exactly how we made the first prints. These sheets are filed in a three ring binder and labeled for future reference if needed.

We also keep a computer data base which contains our catalog of available photographs. This database contains all of the information from the film and printing notes. The master catalog database also contains information on the number of prints available, price, and exhibition information.

I am sure this all sounds extremely complicated, and I have to admit that if you ever get behind on the record keeping, it would be near impossible to ever catch up. The secret is to continually and consistently keep the records up to date. When we are on the road, the first order of business in the evening, after dinner, is to update the day’s notes and log. Once we get home, the next order of business is to get the film notes done. This has to be done in order to sort the film before development. Our catalog database allows us to keep track of what we have in the way of photographs and serves as a place to search for information when needed.

If you continually keep up with your film notes and records you will always have a way to see where you have been and maybe an aid to where you go next. Is it worth it? We would not do it if we thought otherwise!

JB

I have written quite a bit about LF and ULF photography here on the jbhphoto BLOG since we started back in January of 2009. A lot of it is my rambling about this or that, and sometimes I tend to repeat myself. Oh well, must be old age??? One thing that I do not remember writing about is keeping notes. We are both meticulous about keeping records of our travels and detailed notes on the film we shoot.

We do several things when we go out on an extended trip. One is to make a lot of snapshots. They are an excellent way to keep track of the places we visit and are used to plan future trips and serve as a visual reminder of the places and things we discover. We also keep a daily diary/travel log of what, when, and where we were on a particular day. I have to admit that Susan is better at the diary than me, but at the end of every day before we drop off to la-la land, we try to type a few paragraphs. We keep this on a laptop computer and entries continue till the trip is over. It is a great resource, along with the snapshots, later when trying to come up with exactly what happened on any particular adventure.

But, the most important notes are those that pertain to the film we shoot. I experimented for some time when I first started shooting sheet film and eventually came up with a record keeping scheme that works. We have both used this method for many years and it has given us detailed records that, when needed, are invaluable.

When I first began seriously trying to keep film notes I started off with a small notebook. For me though, having to fumble with pen and paper was just not working. So I came up with the bright idea of using a small voice recorder. This worked great! I would record one entry for each exposure and later transcribe the information into a notebook. We both used a micro-cassette recorder for years, until mine just flat quit working. It was worn out and had to be retired.

At this point the digital voice recorders were available and they opened up an entirely new way of record keeping. With the digital recorders it is even easier to keep up with the daily notes. We make one entry for each exposure. The digital file is date and time stamped and it is easy to upload them to the laptop computer. This we do every evening along with updating the daily travel log.

Originally we transcribed each film audio entry into a notebook by hand, but starting about three yeas ago we began typing this information into a computerized form. This form has spaces for Negative Number, Film Holder Number, Development, Image Orientation, f Stop, Shutter Speed, Notes, Filter, Lens, GPS and Date and Time.

This is a somewhat complex way of keeping film data, but it has proven to be well worth the effort, especially when you need to recall the what, when, or how of a particular photo that you made years back. I can go to my film notes and tell you most anything about a particular negative, including the weather.

Keeping notes is also a way to track mistakes. If a particular negative did not turn out as expected, you have all of the information that can provide a clue as to what went wrong. I also record information on my audio entries about location, the light, temperature and anything else that might affect the image, or the photographer. Your notes can be a lifeline to help you track problems.

Detailed records of each sheet of film are not hard to keep up with if you are diligent and keep the process current. Next time I will talk a little about keeping notes in the darkroom. . . and. . . yes, we also keep pretty detailed records of the prints we make.

JB

Seem things continue to change at an alarming rate. Several years ago, maybe 12-15 to be honest, I bought some supposedly daylight balanced fluorescent lamps for the kitchen fixture. They put out this really annoying, kind of brownish light that I just could not stand. They were eventually banished to the garage where they finally burned out and were discarded. It was back to the old standard Cool White fluorescent lamps and that awful color cast they generate. Fast forward to our current world and I saw some information about a Compact Fluorescent (CFL) lamp that is 5,000k and touted to be Full Spectrum. Wow! Now that is more what I was looking for.

I bought a CFL lamp that is dimmable, 5,000k and Full Spectrum for another project I was working with. I was so impressed with the light that I searched out some four footers for the kitchen fixture. Once installed I was really impressed with the fact that the room no longer had that sick green/blue light I have become so accustom to from the run-of-the-mill Cool White lamp. The kitchen light looked so good compared to the ones in the darkroom, I knew they were next.

I did take the time to look at a few photographs under both lights and the difference is remarkable. It is always difficult for me to judge print color cast under fluorescent light. These new Full Spectrum lamps deliver a much more natural light that I really like. If you haven’t looked into these new generation lamps, you might just get a pleasant surprise.

Little else to say, other than the latest batch of Full Spectrum fluorescent lamps are impressive and I really do not want to go back to Cool White. . . Man!

I was recently asked to comment and then was drawn into a discussion on the art of photography and the influence of competition. Specifically, how people’s artistic creativity is swayed by making photographs for the purpose of competing against each other for the satisfaction of winning a blue ribbon.

I am very much against being a member of any large club or organization. Why? Because I feel there is too much of a tendency to become trapped in an endless loop of trying to fit into someone else’s idea of what art should be. Creating images for the sole purpose of winning some contest, for me at least, is a recipe for killing creativity, imagination and individuality, thus turning you into just another ho-hum shutter clicker.

Art is a very personal thing. You cannot please everyone, so why even try to please anyone? You need to please yourself first and foremost. Your art is an expression of what you see and feel. It has nothing to do with what anyone else likes or dislikes. So, why torture yourself by trying to entertain someone else’s idea of what your image should contain, or not contain? Especially if the only reward is a sixty cent ribbon!

It is very important to hone and understand the craft of photography. This is the easy part. You have to understand the craft of your chosen medium. This is true of any creative activity, from wood carving to painting. If you do not understand how to use your equipment and you are not able to learn the ins and outs on your own, by all means, take a class, join a club or group. But, once you attain a basic mastery of the craft, get as far away from external artistic influence as you possibly can. Yes, you also need to learn a few artistic basics. You need to study art theory and understand a few fundamental concepts concerning composition and the artistic view. But, you do not need an endless influence molding you into what someone else views as art. Edward Weston said something to the effect that, “composition is only the best way of seeing.” The creation of art has no hard and fast rules. What suits you is the only thing that matters.

Another reason that I steer away from large clubs and organizations is because they tend to be obsessed with equipment. Remember, amateurs talk about equipment. . . artists talk about art. Learn the craft as quickly as possible, then get on using, and improving that craft in order to create your art. Also remember, a poor craftsman always blames his tools. And speaking of tools, keep in mind that a poor craftsman makes poor images no matter how good the equipment. A well rounded craftsman can make admirable, even stunning images with the worst of equipment. You should own the finest hardware you can afford, but never forget, the camera does not make the photo, you do! Get the equipment and craft of photography out of the way as quickly as possible and get on with making your art! The only thing that matters is the finished image.

And speaking of the finished image, personally I could care less if anyone likes any one of my photographs. Any image I make is not created for anyone but me first and foremost. My photography is mine, and mine alone. If you don’t like it, then don’t bother. If you do like it, then why not do all of us a favor and buy it, and hang it on your wall?

I keep harping on the idea that photography is about the photograph and not the equipment. Or, at least, that is the direction I prefer to take when it comes to the discussion of photography. Talking shop about the gear is the easy part. Talking about the photograph, and the makeup of an image is much more difficult.

The reason the hardware is much easier to discuss is because it is a real, tangible, thing. A piece of hardware you can pick up and hold it in your hand. It has a name and a specific function. You can learn to use a piece of equipment. Most everything about it is well defined and it works in a particular way.

What makes up art is something that is only a feeling. You either like what you see, or you don’t. Looking at some images triggers a feeling or memory that touches you deeply, but cannot be expressed with words. What is definitely appealing to one person is completely ignored by another. To express a great piece of art in words mostly detracts from its emotional content. You just can’t explain a great image.

I am much more interested in hearing how a person was attracted to something, which in turn led them to be motivated to make the photo, rather than the f-stop and shutter speed they used. There are those times when you just KNOW it is time to expose film. The question is, how do you know?

This is the hardest part of artistic photography. There are those that have attempted to explain what is pleasing to the eye by lowering themselves to a form of art speak. Stringing big words together does nothing but make a lot of squiggly lines on paper. Talking for the sake of talk and saying nothing, is what politicians base their careers on.

I am interested in understanding the thought process, but some things are just not well suited for words. Sometimes it is best to just look and enjoy. Below are a few interesting quotes from David Vestal.

Photo Techniques Advanced B&W Printing Photos 303, The Pratt Institute Handouts by David Vestal

We joined a group of local LF photographers last Saturday for a gathering and group shoot at a local park. I have to say that we had a great time. Met some new friends and saw some old ones also. It was a fun time for sure and I am glad we were able to attend. There were nineteen people there and most every kind of camera you could imagine from DSLRs to 8x10s. There was most every level of experience, from beginner to seasoned pro. The talk was lively and the interaction was priceless.

I hauled an 8×10 camera, set it up with several lenses, and let those that were interested look and ask questions. The thing is, I did not expose a single sheet of film. I really had no intention of making an exposure. I was there to enjoy the interaction with like-minded folks. I was there to talk shop. This was a gathering organized for the purpose of letting the interested see what a view camera is and how it works. This is the best way to learn whether you should look more seriously into LF, or not. Working with a view camera is not for everyone. I would never recommend to anyone that they run out and buy a big camera.

I took film, just in case something did materialize, but I never put a holder in the camera. I, for the most part, had no intention of making photographs. Certainly there were some visually interesting things going on in the park, but I was not in the mode of making images. I was in the Left Brain Mode of talking about cameras and how they work.

Creativity is something that I have to prepare for. I have to put my mind into Right Brain Mode to go out to shoot film. I need to be, for the most part, alone with myself in a visually stimulating environment in order to work efficiently. For me, creativity is an extremely personal thing that requires every ounce of my attention. I have learned that I seldom ever produce anything of merit when I am with a group. There are far too many distractions for me to think productively. So for an outing like this, I just go to enjoy the company and conversation about my favorite subject. If I find something that I feel requires my uninterrupted attention, I will go back later by my self to explore.

The most important thing about this outing was just being out there with others that share like interests. I love to talk shop, but I can’t do it and seriously photograph. I know this from years of experience, so we went to the park, met up with a great bunch of people. Talked each other to death, had lunch and enjoyed ourselves. It was not a day to be creative for me. It was a day to be social and have a lot of fun.

Almost forgot to mention. . . I picked up a new 8×10 camera. . . my first KB Canham!

JB

I heard, or maybe read somewhere, that “Amateur photographers talk about equipment. . . Serious photographers talk about photographs!” Personally, I am much more interested in photographs than cameras. A camera is just a light-tight box that holds the lens and film.

Certainly it is important to have the proper tools in order to be successful at anything you attempt. Matters not whether you are building a bookcase, fixing a leaky kitchen faucet or making a photograph. But to obsess endlessly over your tool belt is not necessary. Think of it this way. You take your dream vacation to some really far away place you have always dreamed of visiting. Would you come back and tell everyone all of the details of where you visited, or would you go into excessive detail about the airplane that flew you there?

I defy anyone to look at a framed photograph hanging on the wall and tell me the camera, lens, film, or paper that was used. You would have to be a mind reader! Is the equipment necessary? Certainly! But equipment is only an apparatus necessary to reach an end. The camera is a tool, no more, nor no less, important than a wrench. All you really care about is that faucet in the kitchen stops dripping. Do you care about the name on that wrench?

What I care about is the finished photo on the wall. . . well. . . I have to admit that being out in the field searching for something to point the camera toward is also very important. But everything that goes on between those two moments is really of little interest to me, other than I having what I need to bridge the gap.

What I am trying to say is, spend more time with the image and stop obsessing over the hardware. Buy the best equipment you can afford and work at wearing it out making photos, not wearing yourself, and everyone else, out talking about the paraphernalia.

JB

Everyone that knows us has become accustomed to the fact that we travel in the winter. We have been on the road during the month of December for years now. We mostly travel to the great southwest and photograph the landscape in snow and ice. This year was no exception. We spent thirty days during the month of December 2009 and January 2010 in Utah photographing in deep snow and temperatures that never rose above freezing. But, that is another story that we will get into later.

This is a story of ongoing frustration and misery. Specifically, the misery of getting that PC laptop computer to work. We threw out our PCs in the office late last year and replaced them with new Mac boxes. What a breath of fresh air! A computer that works!

So, this trip we made the conscious decision that maybe we could use that old PC laptop one more time. We record all of our film and field notes using small digital recorders and download them daily to the laptop. We also each carry a small digi-snapper camera to make record photos and snapshots as we work each day. The laptop is also used to access the Internet and e-mail, since most every place we stay has access these days.

After a couple of weeks of frustration with the PC laptop never wanting to work and just being a complete waste of time waiting for it to decide to work, we gave up completely. Susan painfully and slowly, since she had to use the old PC, found the nearest Apple dealer and we took a day off to drive to Colorado to purchase a MacBook.

The experience was again what I would describe as a breath of fresh air! The thing just comes on and works! Instead of spending half an hour, or more, waiting and wondering if the thing is going to work, the Mac just comes on and is ready to go.

If you have ever been curious or tempted to look into Apple computers, all I can say is take a look. Go online, find an Apple Store, make an appointment and let them show you with a hands-on demo. The only regret I have about all of this is thinking of all of the time and frustration I have had to deal with in the past with M$.

End of story. . . source of frustration eliminated. . . my rant is over. . . my blood pressure has once again subsided and I have time in the evening for my favorite activity. . . a quick nap before dinner.

And, if that was not enough to keep you busy, HERE is the link to the snapshots from our 2009-2010 adventures in Utah. . . Enjoy!!

JB

We would like to thank everyone that attended our presentation “THE ART OF B&W PHOTOGRAPHY” at the Lake Granbury Art Association meeting Monday evening. We had a full house and we hope everyone enjoyed themselves as much as we did. Special thanks to Bill Martin and Ron Hood for inviting us and making the arrangements.

A quick note, we will be having an exhibition of 25-30 photographs beginning November 18th and running through January 8th at the River North Gallery in Stephenville, Texas. Watch here for more information as we finalize the arrangements. As always, thanks to everyone for your support.

JB & Susan