Equivalence: The Perennial Trend

[Darryl Baird]

This is probably the first image that got me to thinking about those external references. ...a way to indicate the writing of time by the forces in the landscape. For awhile, it was all I wanted to find and photograph, but it grew too confining and I left it, and sometime later began the latest work, not realizing the connection until thinking about it today. …more fun.

[Richard M. Coda]

Nude Pear, 1990

[Richard M. Coda]

Opus 40, Saugerties, NY, 1988
8x10 Tri-X

Inspired by Minor White

[Miguel Coquis]

Difficult to fit simplicity onto fine art pretended work...
here is a try, a planned shot trying to match elements from into an abstract composition with camera work options,
enjoy it,
MAC

[RSalles]

Just a Audio interview made in 2000 just for who has missed: Getting to Know Carl Chiarenza

https://soundcloud.com/chiarenza/len...interview-2000

Enjoy,

Renato

[stradibarrius]

Dennis as I understand this thread an the intent, for me this photograph made the light bulb come on. I don't know wjat your vision was but I know what I see. I love it! Thanks.

I've often times felt an image has a "what else it is" characteristic. Perhaps it's clear at the moment I'm composing or, in other cases, it might become clear only after the passage of time.

However, that "equivalent" may be something very personal that I would not expect another person to comprehend or relate to. For that reason, I don't suggest thoughts or interject personal feelings when presenting a photograph (unless necessary for some reason). Usually a straightforward title or identification is all I provide.

The viewer may never see what I see in my image, aside from the literal. However, I hope some images will evoke an emotional response such that the viewer relates to the image meaningfully or personally on whatever level possible - should he or she wish to delve deeper.

[austin granger]

Portland by austin granger, on Flickr

[David Lobato]

This is probably the first image that got me to thinking about those external references. ...a way to indicate the writing of time by the forces in the landscape. For awhile, it was all I wanted to find and photograph, but it grew too confining and I left it, and sometime later began the latest work, not realizing the connection until thinking about it today. …more fun.

Writings in the landscape are ephemeral poetry.

[Joe Smigiel]

Austin,

I continue to be amazed at the depth and breadth of your images. I'm wondering what it is like for you walking around with the camera.

Sometimes I see something and record it just to prove to myself that I really did see it and such things actually existed physically. At times I'm enraptured. Other times, dumbfounded at the visual connections. Sometimes everything seems to call to be photographed (or so it seemed during those particular strolls) and I'll look back on a sequence of shots and wonder why the percentages differ so much day to day.

What goes on in your head? What is it like for you?

[austin granger]

Austin,

I continue to be amazed at the depth and breadth of your images. I'm wondering what it is like for you walking around with the camera.

Sometimes I see something and record it just to prove to myself that I really did see it and such things actually existed physically. At times I'm enraptured. Other times, dumbfounded at the visual connections. Sometimes everything seems to call to be photographed (or so it seemed during those particular strolls) and I'll look back on a sequence of shots and wonder why the percentages differ so much day to day.

What goes on in your head? What is it like for you?

Thank you Joe. You are always very kind.

As for what's inside my head, I imagine it's not much different than what's inside most people's heads, that is, a roiling ocean of thoughts and desires and well worn dead ends. Oh wait, is that just me? :-) Seriously, I can certainly relate to all of the things you mentioned experiencing when you are out looking for photos, but I think the last thing (something that "calls out" to be photographed) is the thing I relate to the most. I was thinking about it this morning (I saw your note last night but wanted to stew on it) and it struck me that when I'm out photographing, it's more like listening than anything. That is, when I'm out roaming around, I try to still that roiling ocean of thoughts and just "listen." Honestly, I never really know what it is I'm looking for, but I know it when I see it, or "hear" it. The subject is a thing that "sounds" (like sounding a bell) within me. It is a thing that I recognize, an external representation of an internal condition. If things are going really, really well (photographically speaking), it feels like the world IS my mind, or that my self has expanded to encompass the whole universe.

Reading that last bit back over, I imagine I sound like I'm completely nuts. But look, to turn to the photo of the foggy steps, at the time I made it, I wasn't thinking anything other than; "That's a photo!," but now, looking back, it's clear why I recognized it as such. I recognized it because it's a pretty good representation of where I'm at in my life: not really knowing where I'm going, barely understanding where I've come from, not even realizing whether I'm headed up or down, half lost on an endless path in the fog. You get the gist.

I think that if my pictures appeal to other people, it's because the more specific one gets, the more universal one becomes. When you go inward, you're going outward as well. We're all human, and so experience the same struggles.