I will continue my work with The Sun, and I can always be found in some way or another.

As the dolphins say, "So long, and thanks for all the fish."

Chris 

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The photograph, one of my personal favorites from 2007, placed third in Portrait. More than 1,800 pictures were entered in that category alone, with six awards given. Of note is second-place winner Platon for a Time cover photograph of Vladimer Putin.

This is the first one of my photographs has placed in this contest since 1995. Even taking a grain of salt with it, as all contests are truly subjective, it makes me truly excited. Unfortunately none of the excellent photographs from fellow Sun staffers placed, but we will see what happens with Best of Photojournalism.

From the start this is what I considered to be the photograph. But as I made the picture, working to get the white behind the flower correctly framed it just didn't gibe with what I was seeing in my mind.

This worked better and the flower in the background adds a little depth to the image I did not think necessary. The vision I had still did not come to me, with a single flower starkly standing out on a lighter background. Still trying.

Then this came to me, to frame the flower against the blinds, the tungsten balance, set at 3250 Kelvin, made the outdoors more blue than gray. When finished I figured this was the one. Little did I know image number two above would sneak into the front of the pack after editing in Photo Mechanic. ]]> http://weblogs.baltimoresun.com/broadband/photoedge/blog/2008/03/friday_flowers.html http://weblogs.baltimoresun.com/broadband/photoedge/blog/2008/03/friday_flowers.html Art Fri, 07 Mar 2008 17:25:00 -0500 "Walker Evans"
Photofile series from Thames & Hudson
2007

Most photography books, the ones most likely to make it to the discerning eye's shelf, are large and expensive. Sometimes very large and very expensive. So it is nice to come across a smart book, well-done with excellent reproduction, that is priced right and well-made, such as "Walker Evans."

The Walker Evans and James Agee collaboration "Let Us Now Praise Famous Men" is very well-known, as is Walker's work for the Farm Security Administration and Fortune magazine. His unswerving photographs of Depression-era tenant farmers are stark and unnerving, as are his documents of their living conditions without the dwellers. Each is a portrait of life as stillness.

This book has that and more. A variety of beautiful images, people and things bring forth the past with power and grace: studies of buildings and their interiors, candid portraits taken without the subjects' knowledge, sign details and urbanscapes. Flawless compositions, distractions weeded from the photographic earth, seem to come with ease to Evans and are evident in all the work represented. Evans does not waste space with unnecessary elements or noise, which might divert the eye needlessly from the message.

This handsome book contains a well-coordinated representation of his work up to 1946. After that, five photographs represent the remaining years to his death in 1975. Even with the 29-year gap, the publication is a very good Evans primer. The swell price, listed at $15.95, is more than worth it for the bonanza of information in the introduction by Gilles Mora, an independent French curator and author of "Walker Evans: The Hungry Eye." Detailed and to the point, the introduction is worth double for anyone interested in the minutea of photographers.

My favorite image is a detail Jed made of Malcolm gripping a boot so applied glue can set. Detail photographs, which capture moments that the visually challenged either do not realize exist or fail to notice. They can add life to a series of photographs, serve as a visual segue and contribute a great amount of information without being overly obvious.

The fingers are in control, hands of confidence gripping the black leather, and look as worn and aged as the wood upon which he works. The grip is gentle, a metaphor for the lost time when everyday life often brought people into contact with tradespeople as they went about living lives that involved interaction, a stark contrast to the here-and-now cyberglow of isolation and demands for instant gratification.

Acquired in 2007, thirty-five donated by the artist, they cross every decade of Penn's career. The first is from 1944 while the most recent, of Jasper Johns, is from 2006. The exhibit runs until April 13. 

The story is told through Sandy Puc', a Denver-based portrait photographer who started the program. Often the child is dead or will soon die; the images will be solid, tangible remembrance of the life too short.

The story is from November 2007, but the power is lasting. This is a really well-done story, another example of the depth and capacity of photographs -- and newspapers themselves.

Photo by Sandy Puc'/Now I lay Me Down to Sleep

The first Photo Edge Photo Challenge is over, the voted tallied. Winner: Clifford Gwinn (cliff2n) with a beautiful photograph of log, child, water, bridge and sky. A nice composition that has great depth and a variety of visual information to keep the reader interested.

"Chris: This photo was taken with a Nikon D70 and Nikkor 18-200VR @ F8....I was concentrating on the log and the approaching storm clouds (thinking landscape) when this kid zips into the frame. Instinctively I pressed the shutter (VR is beneficial). I didn`t get another shot with him in the frame...he was a fast kid! For me, when the kid entered the frame it just seemed to be complete...luckily, I caught him. I lived in Baltimore for many years and just recently, I started checking your blog...keep up the good work!!" - Cliff

Well done, and thanks to all those who participated.

At the office before the game I rummaged through the big glass trying to decide what to use. My confidence in the Nikon 400mm f/2.8 lenses was not high, as they are the most used lenses and often get dinged up. So I turned my attention to the Nikon 500mm f/4, with which I have had a lot of luck in the past -- and the added fun of trying to shoot the game with an extraordinarily tight angle of view.    

The opener was a tight fight as underdog Syracuse battled Virgina, leading for much of the game.

(Nikon D2X, Nikon 500mm f/4, 1/5000th @ f/4, ISO 320) 

The back-and-forth continued throughout the game in Syracuse's favor until Virgina, playing aggressive, strong-arm defense, was able to tie the game with little time in regulation. The sudden-death overtime did not last long as Virgina quickly scored and celebrated the grinding victory.   

(Nikon D2X, Nikon 500mm f/4, 1/5000th @ f/4, ISO 250)

The Hopkins game was not nearly as exciting.

Today is the final day to make weather photographs for the Photo Edge Photo Challenge. All must have been photographed from Feb. 13 through Feb 29. Upload them to the Photo Edge Flickr group by March 2 and use the proper tags: "Photo Edge Flickr February Weather Photos." On March 3 they will be judged and the best posted by the end of the day.

Questions should be posted to the discussion on the Flickr group page.

Give me your best shot, to butcher a lyric from an '80s pop diva. 

My first encounter with photographer Steve McCurry, unknown to me, came when I gazed at the cover of a 1985 National Geographic and it gazed back at me with green, knowledgeable eyes that followed me wherever I moved. It was the soon-to-be-famous "Afghan Girl" cover -- an iconic image showing both fear and beauty, betraying the unseen scars of war upon her homeland visible inside her glowing eyes and smudged face.

McCurry's latest book "In the Shadow of Mountains" is a monograph documenting his 27 years photographing Afghanistan. Within its beautiful cover splendid landscapes, slow street scenes and dignified portraits -- the piercing portraits -- artfully pop from the pages.

Whether described in terms of art or the jargon of photojournalism, the photographs betray an intuitive, perhaps harmonic, connection between McCurry and the ever-changing country.

His comfort with the people and the land is evident at every turn of the page, visible in the actions, and sometimes inertia, of daily life that fall in front of his lens. The tumultuous culture is on display, in various forms and permutations, altering as leadership changed and various forms of control exerted upon the people and the land .

The images are powerful and through simplicity gain more weight. McCurry is spare in his vision, even with a complicated composition. There may be a lot going on in a picture of an Afghan fighter relaxing, shoes neatly set nearby in a shattered landscape. But the red couch on which he reclines causes all the visual confusion, including the not-so-distant past and damaged present -- to quickly accrete into a vision of common peace in a hostile environment.

A similar photograph of a class taking place in a ruined building, set among more bomb-battered ruins, is jarring on its own. Add the unspoken fact people are trying to live and continue with life in these conditions the mind can spin. The chalkboard is similar to the red couch, a common element amid the wildly damaged landscape, causing familiarity to calm the setting.

Powerful. Exciting. Sad. Harrowing. These words can describe many of the images -- often at the same time. A truly superb tome worthy of placement on any bookshelf. It might be the best of his many books and is probably home to the best reproduction. A keeper.

photo by Patrick Smith
(Nikon D300, Nikon 70-200mm f/2.8 @ 55mm, 13 seconds @ f/4, ISO 400)

Regular reader and Towson University student Patrick Smith has a nice eclipse image on his Flickr site. There he talks about his chilly adventure to make some photographs for the Towerlight.

The hand-held 13 second exposure created an arresting abstract quite different from from the nearly identical Seattle photographs. Some people like it, some don't. To me it represents a fresh view that works -- maybe not for the newspaper, but works within itself.  

A few days later, slowly perusing some blogs and Flickr pages, a Seattle Post-Intelligencer blog noted the striking similarities between photos in the Post-Intelligencer and their competitor the Seattle Times.

Wow. (Insert double take of incredulity) Is that not amazing?

It is not uncommon for photographers from competing papers or services to have similar photos; usually they involve a sporting event or press conference. But the same airplane in front of an eclipsed moon? 

Wish I placed a bet on that because the odds had to be ginormous. Would have paid off big -- if I could have found someone to take the wager.  

"Magazines (WIRED comes to mind) do not exist only to be filled with namby-pamby, flattering photos of people. (How boring would that be?) And yet, if your first goal is to please the person sitting for your photo, that is exactly where you might be headed," he states.

So for whom do you make your photos? Let's hear it.  

Questions? Post them to the discussion on the Flickr group page.

Let's see the work, this is YOUR chance to shine. Get out there.