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Click Right Hand Menu to Navigate Pages LensWork Overview of 66 LensWork Overview of LensWork Pr e v i e w EXTENDED Welcome to the free preview of LensWork 65. This PDF file offers an overview of the look at the content of LensWork in print and LensWork Extended on CD as well as sample pages. Sample Pages from LensWork Scoring guides Hemlock trim to these lines $ 9•95 U S / 13•50 Canada • • $ 66 Photography • Art Criticism 26 Steve Dzerigian Anecdote: From Instant Images to Enduring Memories Dzerigian reminisces about The Great AA, the huge Polaroid, the Yosemite workshops, and how Ansel’s large personality and generous nature endeared him to many as instructor and friend. Wayne Norton Perry Dilbeck 75 Portfolio : John Sexton Recollections: Three Decades of Photographs A selection of images from Sexton’s latest book, Recollections: Three Decades of Photographs – images that recount his many photographic interests over the years. 31 fromPortfolio Fishermen Waters 92 : Wayne Norton Desert Relations EndNotes by Bill Jay by Moisés Levy Somewhere between a scavenger and a cultural archaeologist, Current LensWork Offerings Norton creates photo-narrations of the Start on Page 94! junk and imprints left in the desert. Sep - Oct 2006 Interview: John Sexton Anecdote: Steve Dzerigian Editor’s Comments: Brooks Jensen EndNotes: Bill Jay 65 Interview with John Sexton In this interview, Sexton discusses the process of collecting 30 years of images into a new book, and talks about publishing and the challenges of creating a book of one’s photographic artwork. Hemlock trim to these lines Wayne Norton 24 images plus video interview 27 images plus audio interview 99 images plus audio interview 24 images plus audio interview Bill Jay Video Tierra Desnuda Darkroom Tour Video Anthony Mournain Moisés Levy EXTENDED Extras • Oliver Gagliani Audio • LensWork Podcasts • Book excerpts • Additional Bill Jay EndNotes John Sexton Audio: Oliver Gagliani We had the privilege of talking photography and art philosophy with Oliver Gagliani on several occasions before he passed away. In this LensWork EXTENDED exclusive, we present several excerpts from our conversations with this master photographer and well-loved workshop instructor. Recorded when Oliver was well into his 80s, he reflects on life, artmaking, photography, money, and the importance of being true to yourself and dedicated to your art. LensWork Extended is a true multimedia publication that dramatically expands the contents of our 96-page magazine, Portfolios Interview EndNotes LensWork — then loads-in lots of audio, video, and “extendSystem Requirements: This CD can be extras.” In the spirit of the paper publication, theBill focus played on your PC or Mac computer usPerry ed Dilbeck John Sexton Jay ing the free Adobe Acrobat Reader™ continues on the creative process, with each CD offering an Version 6 or newer available via downMoisésengaging Levy mix that only multimedia makes possible. load from www.adobe.com. Anecdote Wayne Norton John Sexton $ Steve Dzerigian ISBN 1-888803-84-3 12•95 U S / 17•50 Canada • • 5 1 6 9 5 $ Photography • Art Criticism 9 LensWork E X T E N D E D ·6 6 Recollections Purchase this item from our online store Sample Pages from by Extended Portfolios with Audio Comments Perry Dilbeck Moisés Levy Wayne Norton John Sexton Anecdote Steve Dzerigian Interview John Sexton LensWork Bonus Portfolios Web links Video samples and more! LensWork Extended John Sexton From the book Recollections by John Sexton. Available from Ventana Editions at www.VentanaEditions.com All images in this portfolio © 2006 John Sexton. All rights reserved. Welcome Index LensWork Extended 781888 803846 8/14/2006 4:14:39 PM Renew online Hemlock trim to these lines Bonus Gallery Cover LW66P.indd 1 Subscribe online Desert Relations The Last Harvest Photography and the Creative Process • Articles • Audio Interviews • Extended Portfolios 13 Portfolio : Moisés Levy Fishermen Waters A remote lagoon near Acapulco, Mexico, is the scene for this elegant choreography of light, water, fishermen and photographer. 45 Portfolio : Perry Dilbeck The Last Harvest: Truck Farmers of the Deep South Dilbeck’s 10-year project is in full fruition, with a book out this Fall. A tribute to the disappearing truck farmers of the South – and the way of life they’ve lived. Perry Dilbeck EXTENDED John Sexton Moisés Levy 8 Editor’s Comments When Photography Becomes Art Photography must ask the great questions of Life, which ultimately does not include “Which camera did you use?” No. 66 Sep - Oct 2006 Moisés Levy Fishermen Waters Recollections Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions Brooks Jensen & Maureen Gallagher, Editors John Sexton LensWork 66 • Print Version Sep – Oct 2006 Photography and the Creative Process Articles • Interviews • Portfolios LensWork Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions 66 LensWork LensWork 66 LensWork Table of Contents ExtEndEd Portfolios Thumbnails Close EXTENDED Hemlock trim to these lines Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Overview of $ 9•95 U S / 13•50 Canada • $ • Photography • Art Criticism from Fishermen Waters by Moisés Levy LensWork 66 LensWork 66 • Print Version Sep – Oct 2006 8 Editor’s Comments When Photography Becomes Art Photography must ask the great questions of Life, which ultimately does not include “Which camera did you use?” Photography and the Creative Process Articles • Interviews • Portfolios Brooks Jensen & Maureen Gallagher, Editors John Sexton Moisés Levy 13 Portfolio : Moisés Levy Fishermen Waters A remote lagoon near Acapulco, Mexico, is the scene for this elegant choreography of light, water, fishermen and photographer. Cover LW66P.indd 1 26 Steve Dzerigian Anecdote: From Instant Images to Enduring Memories Dzerigian reminisces about The Great AA, the huge Polaroid, the Yosemite workshops, and how Ansel’s large personality and generous nature endeared him to many as instructor and friend. 31 Portfolio : Wayne Norton Desert Relations Somewhere between a scavenger and a cultural archaeologist, Norton creates photo-narrations of the junk and imprints left in the desert. Wayne Norton Interview: John Sexton Anecdote: Steve Dzerigian Editor’s Comments: Brooks Jensen EndNotes: Bill Jay Perry Dilbeck Editor’s Comments Of course, those who are actively engaged in digital photography will defend themselves by saying it’s not as easy as it looks. They will explain that it requires considerable skill and hours, if not years, to develop the technological abilities to succeed in a rapidly changing environment; that the medium of a photograph does not determine its validity; that new tools offer new vision, etc. Current LensWork Offerings Start on Page 94! LensWork So if the real challenge of photography is not printmaking, then what is it? This is a difficult question and one that I believe – even after 35 years of pursuing it – I cannot answer to my complete satisfaction. I know a little bit of what it is; I know it when I see it, but defining it eludes me. I sometimes see glimpses of it in others’ work. I know that great art is about compassion when I see W. Eugene Smith’s photograph Tomoko Uemura in Her Bath, Minimata, 172. I know great art is about reverence and humility in the presence of great things when I see Ansel Adams’ Clearing Winter Storm. I know great art is about optimism and endurance when I see Paul Strand’s work in the Hebrides – and I know it is about pessimism when I see Robert Capa’s photograph of the falling Spanish soldier. I know it is about the human search for spirituality when I look at the work of Linda Connor. I know it is about the loneliness of life when I look at the work of André Kertész. I know is it is about revelation when I look at the work of Josef Sudek and I know it is about the obscurity and the confusion of life when I look at the photographs of Robert Frank or Garry Winogrand. It is a tall order to consider such questions in a medium that is graphic instead of verbal. It is not easy. But, that is precisely why photography is so worthy of being called a fine art. Music, too, is nonverbal, but it has the ability to move us to tears. Although much of his photographic studies have been self-taught, he has taken several workshops along the way (with Academia de Artes Visuales in Mexico, and with Dan Burkholder in the USA). While his career is centered on architecture, and his appreciation of light began there, he states “I have a preference for landscape photography because it lets me be more organic and flexible than my work as an architect.” For that reason he is working on a project titled Naked Earth – where land meets sky – and nary a support column in sight. Works with: Mamiya 7 6x7 medium format and Canon 5D digital. Scans film with Nikon Coolscan 9000 to Mac G5. Prints on Epson 4000 and in Platinum/Palladium. 13 Desert Relations Born in Brian, Texas, in 1958, Wayne Norton grew up in Ames, Iowa, then moved at the age of 21 to Santa Barbara, California, where he attended Brooks Institute of Photography. After graduating with a Bachelor of Arts in commercial photography he then moved to San Diego and established Norton Photography. This small commercial photography business has been his sole occupation for nearly 25 years. While working in a commercial capacity, Norton has managed to work on personal fine art projects over the years. To further his fine art interests he is working towards his MFA in photography through the Academy of Art University in San Francisco. Upon graduation he plans to dedicate himself to fine art photography. He states “I think the photographs of Ansel Adams and the book Zen and the Art of Motorcycle Maintenance influenced me to become sort of a control-freak with my photography. I’ve also notice that I’m increasingly interested in ‘American’ art.” In painting that includes Edward Hopper and Winslow Homer; musically speaking it includes Bob Dylan and J.J. Cale. Norton currently lives in Escondido, California, but will be relocating to the desert town of Wickenburg, Arizona, in January, 2007. Web site: www.nortonphoto.com Works with: 4x5 view camera with digital back, one studio strobe light. Archival inkjet prints made with Epson Ultrachrome inks and photo rag archival fine art paper. Represented by: Currently seeking representation. LensWork Anecdote Steve Dzerigian EXTENDED Wayne Norton Desert Relations Sample Pages from LensWork Perry Dilbeck The Last Harvest: Truck Farmers of the Deep South by Wayne Norton LensWork 30 Renew online Bill Jay Anecdote: From Instant Images to Enduring Memories by Steve Dzerigian Dzerigian reminisces about The Great AA, the huge Polaroid, the Yosemite workshops, and how Ansel’s large personality and generous nature endeared him to many as instructor and friend. by Moisés Levy 12 Subscribe online Overview of EndNotes EndNotes by Bill Jay About seven years ago he began to explore photography more deeply, with a broad interest in artistic composition, influences, history and styles. Levy appreciates the history of the medium, and states that he has learned from the photographic work of Sebastião Salgado, Edward Weston, Manuel Alvarez Bravo, and Eugene Atgét. From other creative venues his musical preference is classical, and includes Mozart, Bach and Vivaldi, and he enjoys the written works of Gabriel Garcia Marquez and Edgar Allen Poe. www.levylevy.com.mx John Sexton Fishermen Waters In 1982, when he began his studies in architecture at Universidad Iberoamericana, his appreciation of the natural relation between light and architecture was deepened. Subsequent travel to Boston, Paris and Venice served to illuminate the unbreakable bond between architecture and its relationship with light. It was this early interest in the qualities of light that lead Levy to photography, and as a counterpoint to his work as an architect he has now been drawn to landscape work. [email protected] Interview Perry Dilbeck Moisés Levy Wayne Norton John Sexton Editor’s Comments When Photography Becomes Art Photography must ask the great questions of Life, which ultimately does not include “Which camera did you use?” In short, great photographs are never about photography but seem to be about life, and not, generally, the small things in life. The best photographers appear to be engaged in the great dialog of life – the dialog that is usually the field-of-play for philosophers and theologians, for mystics or even political scientists. The great photographers don’t seem to be asking questions about f/stops or shutter speeds, developers or enlarging papers, but are asking the same kinds of questions that were asked by philosophers Aristotle, Plato, Thomas Aquinas, Nietzsche, or Freud – the same questions asked by the poets Aeschylus, Dante, Goethe, Victor Hugo and Mark Twain. What is man? Who am I? What is good? Why is there evil? How should we treat one another? Why don’t we? Why does suffering exist? These are the questions of art because these are the questions of humankind. Born in Mexico City in 1963, Moisés Levy is a lifelong resident there, and works in the city as an established architect. His earliest interest in architecture and photography occurred on a trip to New York City when he was 13 years old. “I was fascinated with the buildings and the evening shadows of the city.” Web site: Portfolios Articles 92 EndNotes by Bill Jay I can’t help but think that both camps are missing the far more important point. The hard part of photography has never been technology. There have been hundreds, if not thousands, of technically accomplished photographers – and a peek back through the early photography magazines and photographic annuals will yield a harvest of technologically accomplished photographers whose work is now forgotten – because it deserves to be. You see, the hard part of photography has never been technology, but rather the more difficult process of artmaking – a process that is stubbornly unsolvable through technological means and remains the sole province of the human heart, the human mind, and human soul. If art were solely about technique then why is it that the technical masters like Rembrandt or Ansel Adams don’t make masterpieces each and every time they create a new piece? Is it because when one achieves technical mastery one hasn’t, in essence, accomplished much of merit? Technical Email: Moisés Levy Fishermen Waters 8/14/2006 4:14:39 PM 75 Portfolio : John Sexton Recollections: Three Decades of Photographs A selection of images from Sexton’s latest book, Recollections: Three Decades of Photographs – images that recount his many photographic interests over the years. The debate ensues – and sometimes rage soon follows. Portfolios LensWork 65 Interview with John Sexton In this interview, Sexton discusses the process of collecting 30 years of images into a new book, and talks about publishing and the challenges of creating a book of one’s photographic artwork. mastery is important, it is a challenge, it may take years to accomplish, but it is merely a first step. Mastering technique is like graduating from high school; it is an achievement worthy of a small celebration, but is best seen as the conclusion of preparation rather than as true accomplishment. When Photography Becomes Art Some photographic old-timers find themselves naturally resistant to digital technologies because it seems to make the process of photography a little too easy. When I was first learning photography (in the pre-Jurassic era of 1970), it was known that every person of accomplishment had, in their turn, sweated bullets over the Zone System and the subtle craft of making a fine print. Now, these darned youngsters come along with their whipsnap “digital image capture devices” and pound out inkjet-o-graphs with rapidity – and even have the nerve to call it art. (Listen carefully and you can just hear the rocking chairs creaking during such discussions.) 45 Portfolio : Perry Dilbeck The Last Harvest: Truck Farmers of the Deep South Dilbeck’s 10-year project is in full fruition, with a book out this Fall. A tribute to the disappearing truck farmers of the South – and the way of life they’ve lived. No. 66 Sep - Oct 2006 Overview of Sep - Oct 2006 Table of Contents Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions 66 LensWork LensWork LensWork 66 LensWork 31 Painted Window Striped Boulder Anaheim, California 1978 Saddle Canyon, Grand Canyon, Arizona 1997 88 89 Sample Pages from Interview with John Sexton TIn this interview, Sexton discusses the process of collecting 30 years of images into a new book, and talks about publishing and the challenges of creating a book of one’s photographic artwork. Purchase this item from our online store LensWork EXTENDED John Sexton Recollections: Three Decades of Photographs Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close LensWork EX TENDED 66 LensWork #66 In Print LensWork Extended #66 John Sexton 16 images 24 images Plus audio and video interviews Perry Dilbeck 17 images 99 images Plus audio interview Moisés Levy 11 images 27 images Plus audio interview Wayne Norton 11 images 24 images Plus audio interview LensWork #66 featuring... Video LensWork Introduces Darkroom Video Tours This video of John Sexton’s darkroom is our first in a series of LensWork EXTENDED exclusive tours of photographers’ darkrooms, digital workspaces, and studios. Selected technical data Bill Jay’s EndNotes 2-pages 4-pages Editor’s comment Audio Interviews with photographers Bonus Articles Video Book excerpts Bonus Gallery Bonus Gallery PDFs Tierra Desnuda by Moisés Levy 66 ExtEndEd Portfolios Perry Dilbeck Wayne Norton 99 images plus audio interview 24 images plus audio interview Desert Relations The Last Harvest EXTENDED Moisés Levy 27 images plus audio interview Fishermen Waters Recollections LensWork John Sexton 24 images plus video interview Subscribe online System Requirements: This CD can be played on your PC or Mac computer using the free Adobe Acrobat Reader™ Version 6 or newer available via download from www.adobe.com. John Sexton Audio: Oliver Gagliani We had the privilege of talking photography and art philosophy with Oliver Gagliani on several occasions before he passed away. In this LensWork EXTENDED exclusive, we present several excerpts from our conversations with this master photographer and well-loved workshop instructor. Recorded when Oliver was well into his 80s, he reflects on life, artmaking, photography, money, and the importance of being true to yourself and dedicated to your art. LensWork Extended is a true multimedia publication that dramatically expands the contents of our 96-page magazine, LensWork — then loads-in lots of audio, video, and “extended extras.” In the spirit of the paper publication, the focus continues on the creative process, with each CD offering an engaging mix that only multimedia makes possible. ISBN 1-888803-84-3 $ 12•95 U S / 17•50 Canada • • $ Photography • Art Criticism How to Build a Bonus Gallery PDF Renew online Darkroom Tour Video Anthony Mournain Moisés Levy Purchase this item from our online store 9 5 1 6 9 5 Photography and the Creative Process • Articles • Audio Interviews • Extended Portfolios Bill Jay Video Tierra Desnuda EXTENDED Extras • Oliver Gagliani Audio • LensWork Podcasts • Book excerpts • Additional Bill Jay EndNotes Hemlock trim to these lines Overview of LensWork EXTENDED Sample Pages from LensWork Hemlock trim to these lines LensWork E X T E N D E D ·6 6 Bonus Gallery Bill Jay LensWork Scoring guides Hemlock trim to these lines The Anthony Mournian Video Interviews Overview of Extended Portfolios with Audio Comments Perry Dilbeck Moisés Levy Wayne Norton John Sexton Anecdote Steve Dzerigian Interview John Sexton Bonus Portfolios Web links Video samples and more! LensWork Extended Extended portfolios, more images • Short audio interviews with photographers • Audio comments on individual images • Videos on photography and the creative process • Printable high resolution fine art images • Direct links to web sites, email addresses • Video interviews with photographers • And more all on a single CD using the Acrobat 6 Reader. 781888 803846 Hemlock trim to these lines Sample Pages from LensWork EXTENDED Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 66 LensWork LensWork Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions Overview of LensWork Table of Contents LensWork 66 • Print Version No. 66 Sep - Oct 2006 Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions 8 Editor’s Comments When Photography Becomes Art Photography must ask the great questions of Life, which ultimately does not include “Which camera did you use?” 13 Portfolio : Moisés Levy Fishermen Waters A remote lagoon near Acapulco, Mexico, is the scene for this elegant choreography of light, water, fishermen and photographer. 26 Steve Dzerigian Anecdote: From Instant Images to Enduring Memories Dzerigian reminisces about The Great AA, the huge Polaroid, the Yosemite workshops, and how Ansel’s large personality and generous nature endeared him to many as instructor and friend. Sep - Oct 2006 Portfolios Interview Perry Dilbeck Moisés Levy Wayne Norton John Sexton John Sexton EndNotes Bill Jay Anecdote Steve Dzerigian 31 Portfolio : Wayne Norton Desert Relations Somewhere between a scavenger and a cultural archaeologist, Norton creates photo-narrations of the junk and imprints left in the desert. 45 Portfolio : Perry Dilbeck The Last Harvest: Truck Farmers of the Deep South Dilbeck’s 10-year project is in full fruition, with a book out this Fall. A tribute to the disappearing truck farmers of the South – and the way of life they’ve lived. 65 Interview with John Sexton In this interview, Sexton discusses the process of collecting 30 years of images into a new book, and talks about publishing and the challenges of creating a book of one’s photographic artwork. 75 Portfolio : John Sexton Recollections: Three Decades of Photographs A selection of images from Sexton’s latest book, Recollections: Three Decades of Photographs – images that recount his many photographic interests over the years. LensWork EXTENDED Sample Pages from LensWork 92 EndNotes by Bill Jay Current LensWork Offerings Start on Page 94! Sample Pages from LensWork 8/14/2006 4:14:39 PM Subscribe online Overview of Renew online Purchase this item from our online store EXTENDED Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 Overview of LensWork LensWork Editor’s Comments The debate ensues – and sometimes rage soon follows. mastery is important, it is a challenge, it may take years to accomplish, but it is merely a first step. Mastering technique is like graduating from high school; it is an achievement worthy of a small celebration, but is best seen as the conclusion of preparation rather than as true accomplishment. I can’t help but think that both camps are missing the far more important point. The hard part of photography has never been technology. There have been hundreds, if not thousands, of technically accomplished photographers – and a peek back through the early photography magazines and photographic annuals will yield a harvest of technologically accomplished photographers whose work is now forgotten – because it deserves to be. You see, the hard part of photography has never been technology, but rather the more difficult process of artmaking – a process that is stubbornly unsolvable through technological means and remains the sole province of the human heart, the human mind, and human soul. If art were solely about technique then why is it that the technical masters like Rembrandt or Ansel Adams don’t make masterpieces each and every time they create a new piece? Is it because when one achieves technical mastery one hasn’t, in essence, accomplished much of merit? Technical So if the real challenge of photography is not printmaking, then what is it? This is a difficult question and one that I believe – even after 35 years of pursuing it – I cannot answer to my complete satisfaction. I know a little bit of what it is; I know it when I see it, but defining it eludes me. I sometimes see glimpses of it in others’ work. I know that great art is about compassion when I see W. Eugene Smith’s photograph Tomoko Uemura in Her Bath, Minimata, 172. I know great art is about reverence and humility in the presence of great things when I see Ansel Adams’ Clearing Winter Storm. I know great art is about optimism and endurance when I see Paul Strand’s work in the Hebrides – and I know it is about pessimism when I see Robert Capa’s photograph of the falling Spanish soldier. I know it is about the human search for spirituality when I look at the work of Linda Connor. I know it is about the loneliness of life when I look at the work of André Kertész. I know is it is about revelation when I look at the work When Photography Becomes Art Some photographic old-timers find themselves naturally resistant to digital technologies because it seems to make the process of photography a little too easy. When I was first learning photography (in the pre-Jurassic era of 1970), it was known that every person of accomplishment had, in their turn, sweated bullets over the Zone System and the subtle craft of making a fine print. Now, these darned youngsters come along with their whipsnap “digital image capture devices” and pound out inkjet-o-graphs with rapidity – and even have the nerve to call it art. (Listen carefully and you can just hear the rocking chairs creaking during such discussions.) Of course, those who are actively engaged in digital photography will defend themselves by saying it’s not as easy as it looks. They will explain that it requires considerable skill and hours, if not years, to develop the technological abilities to succeed in a rapidly changing environment; that the medium of a photograph does not determine its validity; that new tools offer new vision, etc. of Josef Sudek and I know it is about the obscurity and the confusion of life when I look at the photographs of Robert Frank or Garry Winogrand. In short, great photographs are never about photography but seem to be about life, and not, generally, the small things in life. The best photographers appear to be engaged in the great dialog of life – the dialog that is usually the field-of-play for philosophers and theologians, for mystics or even political scientists. The great photographers don’t seem to be asking questions about f/stops or shutter speeds, developers or enlarging papers, but are asking the same kinds of questions that were asked by philosophers Aristotle, Plato, Thomas Aquinas, Nietzsche, or Freud – the same questions asked by the poets Aeschylus, Dante, Goethe, Victor Hugo and Mark Twain. What is man? Who am I? What is good? Why is there evil? How should we treat one another? Why don’t we? Why does suffering exist? These are the questions of art because these are the questions of humankind. Overview of LensWork EXTENDED Sample Pages from LensWork It is a tall order to consider such questions in a medium that is graphic instead of verbal. It is not easy. But, that is precisely why photography is so worthy of being called a fine art. Music, too, is nonverbal, but it has the ability to move us to tears. Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Who can look at Dorothea Lange’s Migrant Mother and not feel something of her pain? Is this a great photograph because Lange so adroitly used the correct aperture and film development? Or is the magic in this photograph the skill with which Lange shows us the human heart in such frankness? But I suppose I should return in my thoughts to less lofty individuals and less accomplished artists and talk more pragmatically of you and of me. We are not Cervantes or Alfred Stieglitz. Heck, I’m not even sure I’m Tiny Tim. But I would contend that it makes no difference that you and I are not great artists in the sense that our mortality is exactly the same as theirs and our questions about the mysteries of life are exactly the same, too. And that is precisely why it is worth our time and our efforts to produce art. There is value in what we produce, but there is even more value, at least for us as individuals, that we engage in the creative act and ask such questions and search for such answers. We make self-portraits because we want to understand ourselves and to assert our existence. We make photographs of others so we can understand the community in which we live. We photograph the grand landscape so we can know the context and the planetary stage on which our dramas unfold. We photograph nostalgia so that we can remember; abstracts so we can play with the patterns Overview of LensWork LensWork in our visual mind; flowers so we can marvel at the wonders of creation. These are worthy, soaring pursuits, even if our results remain grounded and somewhat pedestrian. in technology. The future is unpredictable and our impact on it – that is to say, on the photographers of tomorrow – is equally unknown. We owe them our best, just as we do those who have gone before us. There is a common theme in all of this, and that is our compunction to explore the world in order to find understanding, in order to find meaning. For some (I think of Diane Arbus or Joel-Peter Witkin) the world they find is frightening, uncomfortable, disturbing. Through their photographs we can explore our dark side. For others, (I think of Elliott Erwitt and occasionally Edward Weston) I see their laughter at our human folly. Some believe that the great artists are extraordinary people doing extraordinary things; others would propose that great artists are simply ordinary people doing extraordinary things. In some regards it makes no difference which of these is correct because in either case it is people doing things, creating what they can while they can. We must never forget that every artist who accomplishes great things started, at one point in their career, from exactly the same position that you and I are in – unknown, contemporary, just another person using their best efforts to try to bring forth something which does not yet exist, which is, of course, the essential act of creation. And there is another reason why we should strive for more than mere technical excellence: Just as we do with the photographs of those who have gone before us, if we’re lucky, if we work hard, if we have talent, and if we are sensitive, we might just make photographs that others can use to explore their humanity. I am reminded of that jazz singer from the 1930s, Connee Boswell, now long forgotten – except that her excellence and creative life were acknowledged as the roll model, inspiration, and musical mentor by a grateful Ella Fitzgerald, whom everyone knows. We do not always know how our work or our life will influence others, but known or not this, too, is a reason for us to strive for more than mere competence 10 there are some who would say that Minor White may actually be standing next to them – in his white robe and flowing hair, like Gandalf back from the great beyond – but I digress) watching our creative response. Or, so it feels. It is not intimidating. I find it a comfort. It would be much more frightening to be all alone in a creative desert that stretched both directions in time, isolating me from others in some hellish art-void. Sure, it may be a bit creepy to think that Diane Arbus is sitting on your shoulder, or that Fred Picker is looking through your ground glass, but it is comforting to remember that they, in their turn, had their previous generation of photographers to inspire and motivate them. We are links in a long, creative chain. I may never be a great artist and I may never make great artwork, but this will surely come to pass if I don’t try, or if I mistake the challenges of technique/ technology with the challenges of understanding and expressing the human soul. Anyone – no, everyone – can master technology. It is the artist who can turn such mechanical prowess into a work that resonates with the human heart. And, that is the challenge that transcends all equipment, all technique, and all time. As naïve and simplistic as it sounds, I think about this when I am out photographing. I am viscerally, consciously aware that Edward Weston, or Eugene Atgét, or Harry Callahan, or Minor White have probably looked at the same subject I am gazing at. They (or someone) have probably photographed it, too. We are fellow travelers, those previous photographers and us alive today. Figuratively, they are standing next to us (although Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from 11 LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 Born in Mexico City in 1963, Moisés Levy is a lifelong resident there, and works in the city as an established architect. His earliest interest in architecture and photography occurred on a trip to New York City when he was 13 years old. “I was fascinated with the buildings and the evening shadows of the city.” Overview of LensWork Fishermen Waters LensWork EXTENDED In 1982, when he began his studies in architecture at Universidad Iberoamericana, his appreciation of the natural relation between light and architecture was deepened. Subsequent travel to Boston, Paris and Venice served to illuminate the unbreakable bond between architecture and its relationship with light. It was this early interest in the qualities of light that lead Levy to photography, and as a counterpoint to his work as an architect he has now been drawn to landscape work. About seven years ago he began to explore photography more deeply, with a broad interest in artistic composition, influences, history and styles. Levy appreciates the history of the medium, and states that he has learned from the photographic work of Sebastião Salgado, Edward Weston, Manuel Alvarez Bravo, and Eugene Atgét. From other creative venues his musical preference is classical, and includes Mozart, Bach and Vivaldi, and he enjoys the written works of Gabriel Garcia Marquez and Edgar Allen Poe. Although much of his photographic studies have been self-taught, he has taken several workshops along the way (with Academia de Artes Visuales in Mexico, and with Dan Burkholder in the USA). While his career is centered on architecture, and his appreciation of light began there, he states “I have a preference for landscape photography because it lets me be more organic and flexible than my work as an architect.” For that reason he is working on a project titled Naked Earth – where land meets sky – and nary a support column in sight. Web site: www.levylevy.com.mx Email: [email protected] Works with: Mamiya 7 6x7 medium format and Canon 5D digital. Scans film with Nikon Coolscan 9000 to Mac G5. Prints on Epson 4000 and in Platinum/Palladium. 12 Overview of Sample Pages from LensWork by Moisés Levy Sample Pages from 13 LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Overview of LensWork LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from 16 17 LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 Born in Cambridge, Massachusetts, in 1963, Jonathan Moller studied at the School of the Museum of Fine Arts in Boston and earned a Bachelor of Fine Arts from Tufts University Born in Brian, Texas, in 1958, Wayne Norton grew up in Ames, Iowa, (Medford, MA) in 1990. then moved at the age of 21 to Santa Barbara, California, where he attended Brooks Institute of Photography. After graduating with a Moller has spent seven of the past 14 years in Central America. In 1991, shortly after Bachelor of Arts in commercial photography he then moved to San graduation, he began working in Nicaragua, and since 1992 has lived primarily in GuateDiego and established Norton Photography. This small commercial mala, where he began work with two human rights organizations supporting populations photography business has been his sole occupation for nearly 25 uprooted by the civil war. As a member of the Foreign Press Club of Guatemala, Moller years. has also worked as a part-time freelance photographer in Guatemala and El Salvador. In 2000-2001 he was photographer on a Guatemalan forensic anthropology team exhuming While working in a commercial capacity, Norton has managed to clandestine cemeteries. work on personal fine art projects over the years. To further his fine art interests he is working towards his MFA in photography through The recipient of numerous awards, Moller received the 2005 Center for Photographic Arts the Academy of Art University in San Francisco. Upon graduation Award; in 2003 the Golden Light Award from the Maine Photographic Workshops; in 2003 he plans to dedicate himself to fine art photography. the Vision Award from the Santa Fe Center for Visual Arts, and in 2001 he was awarded the Henry Dunant Prize for Excellence in Journalism by the International Red Cross for best He states “I think the photographs of Ansel Adams and the book photo-reportage in Central America and the Caribbean. Zen and the Art of Motorcycle Maintenance influenced me to become sort of a control-freak with my photography. I’ve also notice that I’m His work has been widely exhibited and is in permanent collections including the San increasingly interested in ‘American’ art.” In painting that includes Francisco Museum of Modern Art; the George Eastman House; the Museum of Fine Arts, Edward Hopper and Winslow Homer; musically speaking it includes Houston; the Minneapolis Institute of Arts; the Baltimore Museum of Art; the Brooklyn Bob Dylan and J.J. Cale. Museum of Art; the Portland Art Museum; the University of California Berkeley Art Museum; the Milwaukee Art Museum; the International Polaroid Corporation; Centro de Norton currently lives in Escondido, California, but will be relocating la Imagen, Mexico City; and the Casa de Las Americas, Havana, Cuba. to the desert town of Wickenburg, Arizona, in January, 2007. Overview of LensWork Our Culture Is Our Resistance Desert Relations Repression, Refuge, and Healing in Guatemala Overview of LensWork EXTENDED Sample Pages from LensWork by He currently lives in Denver, Colorado. Web site: Works with: Book: www.jonathanmoller.org Web site: www.nortonphoto.com Mamiya 6 4x5 view camera with digital back, one studio Works with: Our Culture is Our strobe Resistance: light. Archival Repression, inkjet Refuge prints made and Healing with in Guatemala (Powerhouse Books, Epson2004, Ultrachrome ISBN #1-57687-212-2. inks and photo rag Spanish archivallanguage edition simultaneously published fine art paper. by Turner Libros, Madrid and Mexico City.) Represented by: Represented Polaris Images by: (stock Currently and assignment) seeking representation. 42 30 Jonathan Wayne Norton Moller Juan and Maria’s wedding. Tzucuna, Cabá, Quiché, Guatemala 1993 43 31 Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Overview of LensWork LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from 34 35 LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 Born in 1965 in Atlanta and raised in McDonough, Georgia, Perry Dilbeck attended Georgia State University, where he earned a Bachelor of Fine Arts degree, and then went on to earn a Master of Fine Arts from Savannah College of Art & Design. After working in Atlanta as a commercial freelance photographer for six years, he began teaching photography full-time at Art Institute of Atlanta, where he’s been since 1998. Overview of LensWork The Last Harvest Truck Farmers of the Deep South LensWork EXTENDED Although Dilbeck’s photographic interests emerged in high school, he initially opted to major in business and marketing in college. That plan was dramatically altered in 1985 when he saw Richard Avedon’s portraits from In the American West. “The power of those images changed my life forever. I quit business school and immediately enrolled in photography school.” While at Georgia State University he studied under John McWilliams (a former student of Harry Callahan). “Here, I was exposed to a very underrated photographer named Bill Burke. His fine art approach to creating documentary journals was very unique.” He also points to Keith Carter’s book Mojo and Sally Mann’s Immediate Family portraits as superb examples of make the simple things in life extraordinary. Dilbeck has received a number of awards, including: Artist sponsorship from Blue Earth Alliance in Seattle, Washington (2006); Fellowship from the Texas Photographic Society (2004); and Vision Award Winner from the Santa Fe Center for Visual Arts (2003). He was also awarded sabbatical in 2003 from The Art Institute of Atlanta, where he has been a full-time photography instructor for eight years. He lives with his wife Deborah in Locust Grove, Georgia, between Macon and Atlanta. Web site: www.perrydilbeck.com Works with: Holga plastic cameras and one Pentax 6x7 medium format camera. Prints are made in a traditional wet darkroom. Book: The Last Harvest: Truck Farmers in the Deep South (Center for American Places, October, 2006. ISBN #193006649X). Represented by: Photo-eye Books & Prints, Santa Fe, NM, or contact the photographer directly at [email protected]. 44 Overview of Sample Pages from LensWork by Perry Dilbeck Spring Plowing 45 Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Overview of LensWork LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Red Berry with 1957 Farmall Tractor Red Berry #5 50 51 Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Overview of LensWork LensWork Recollections Overview of Three Decades of Photographs LensWork EXTENDED Sample Pages from by LensWork John Sexton Trees, Blowing Snow Yosemite Valley, California 1982 From the book Recollections by John Sexton. PaintedatWindow Available from Ventana Editions www.VentanaEditions.com Anaheim, California 1978 All images in this portfolio © 2006 John Sexton. All rights reserved. 75 88 Striped Boulder Saddle Canyon, Grand Canyon, Arizona 1997 89 Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork 66 LensWork Overview of LensWork LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Stone Carving Cracked Mud Narita Japan, 1983 Oljeto Wash, San Juan River, Utah 1992 76 77 Sample Pages from LensWork EXTENDED Subscribe online Renew online Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED Scoring guides 66 Hemlock trim to these lines 66 LensWork Hemlock trim to these lines 66 ExtEndEd Portfolios John Sexton Moisés Levy Perry Dilbeck Wayne Norton 27 images plus audio interview 99 images plus audio interview 24 images plus audio interview Fishermen Waters Recollections 24 images plus video interview Desert Relations The Last Harvest EXTENDED E X T E N D E D ·6 6 LensWork LensWork LensWork Overview of Scoring guides Len EXTE Overview of LensWork EXTENDED Bonus Gallery EXTENDED Extras • Oliver Gagliani Audio • LensWork Podcasts • Book excerpts • Additional Bill Jay EndNotes Extended Portfolios with Audio Comments Perry Dilbeck Moisés Levy Wayne Norton John Sexton Anecdote Steve Dzerigian Interview John Sexton Bonus Portfolios Web links Video samples LensWork Extended System Requirements: This CD can be played on your PC or Mac computer using the free Adobe Acrobat Reader™ Version 6 or newer available via download from www.adobe.com. and more! Darkroom Tour Video Anthony Mournain Moisés Levy John Sexton Audio: Oliver Gagliani We had the privilege of talking photography and art philosophy with Oliver Gagliani on several occasions before he passed away. In this LensWork EXTENDED exclusive, we present several excerpts from our conversations with this master photographer and well-loved workshop instructor. Recorded when Oliver was well into his 80s, he reflects on life, artmaking, photography, money, and the importance of being true to yourself and dedicated to your art. LensWork Extended is a true multimedia publication that dramatically expands the contents of our 96-page magazine, LensWork — then loads-in lots of audio, video, and “extended extras.” In the spirit of the paper publication, the focus continues on the creative process, with each CD offering an engaging mix that only multimedia makes possible. ISBN 1-888803-84-3 $ Hemlock trim to these lines 12• 95 U•S• / 17 $ 50 Canada • Photography • Art Criticism 9 5 1 6 9 5 Photography and the Creative Process • Articles • Audio Interviews • Extended Portfolios Photography and the Creative Process • Articles • Audio Interviews • Extended Portfolios Bill Jay Video Tierra Desnuda Sample Pages from LensWork Extended Portfolios with Audio Comments Ane Steve Sample Pages fromInte Perry Dilbeck LensWork Moisés Levy Joh Wayne Norton EXTENDED John Sexton 781888 803846 Hemlock trim Subscribe online Renew online Purchase this item from our online store to these(issues lines #1-50) as PDF files on a single CD Purchase 10 Years of LensWork enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED 66 Overview of LensWork Recollections Overview of LensWork EXTENDED Sample Pages from LensWork by Sample Pages from John Sexton LensWork From the book Recollections by John Sexton. Available from Ventana Editions at www.VentanaEditions.com All images in this portfolio © 2006 John Sexton. All rights reserved. Subscribe online Welcome Renew online Index Purchase this item from our online store LensWork Extended EXTENDED Thumbnails Close Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED 66 Overview of LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from LensWork Agave Detail EXTENDED La Mirada, California 1977 Subscribe online Welcome Renew online Index Purchase this item from our online store LensWork Extended Thumbnails Close Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED 66 Overview of LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from LensWork Lion’s Head, Forbidden City EXTENDED Beijing, China 1983 Subscribe online Welcome Renew online Index Purchase this item from our online store LensWork Extended Thumbnails Close Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED 66 Overview of LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from LensWork Sculpted Pools EXTENDED Left Fork of North Creek, Utah 1998 Subscribe online Welcome Renew online Index Purchase this item from our online store LensWork Extended Thumbnails Close Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Sample Pages from LensWork EX TENDED 66 Overview of LensWork Overview of LensWork EXTENDED Sample Pages from LensWork Sample Pages from LensWork Fresh Snow Trees EXTENDED Yellowstone National Park Subscribe online Welcome Renew online Index Purchase this item from our online store LensWork Extended Thumbnails Close Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close Publishers & Editors Brooks Jensen Maureen Gallagher Overview of LensWork Design & Layout Holly Chadwick Overview of The contents of this computer media are copyrighted materials. LensWork EXTENDED Please note that this computer file has been sold as a consumer product for the private non-commercial use of the purchaser only. Its contents are copyrighted in its entirety and may not be duplicated by any means for use other than the original purchaser. Each article, portfolio and photographic image is copyrighted by the author or photographer and may not be duplicated for any purpose or by any means without their consent. © 2006 LensWork Publishing Sample Pages from LensWork LensWork Publishing 909 Third Street Anacortes, WA 98221-1502 U.S.A. USA TOLL FREE 1-800-659-2130 Voice 360-588-1343 FAX 503-905-6111 Email [email protected] Subscribe online Renew online Visit our World Wide Web site at: Sample Pages from http://www.lenswork.com LensWork including the the latest information about offerings from LensWork Publishing. EXTENDED Purchase this item from our online store Purchase 10 Years of LensWork (issues #1-50) as PDF files on a single CD enhanced.lenswork .com – Preview of LensWork #66 Close