This is the cover photo for my self-published book Prairie Madness. It was selected for Special Mention at CPAC Member’s Photo exhibit. It was also selected to show at the All Colorado Art Show in Englewood, CO
On July 4th we got up early an made a pilgrimage of sorts to Denver’s Riverside Cemetery. I’m not being cute when I say this is a ‘dead’ cemetery in that burial plots are no longer being sold. They lost their Platte River water rights in the early 2000’s and now whatever grows there does so by the rain that falls there.
It is however a very historic cemetery for the city of Denver and Colorado. I went there to look for two graves that are connected by the Sand Creek Massacre of 1864. Col. Chivington descended on a group of mostly women and children who were supposed to be under the protection of the United States. They were slaughtered. The attack was approved by the then territorial governor, John Evans. They called it a battle but because of Silas Soule it was immediately known that it was a massacre. Soule was part of the Colorado Militia under Chivington’s command and he refused to engage the Indian settlement.
Both Soule and John Evans are buried at Riverside.
Not well seen, the Evans memorial has been spray painted and I”m sure it’s not the first or last time. On the other hand Soule’s grave is decorated - he is considered a hero of Sand Creek - not only for not engaging but also because he filed a complaint against Chivington allowing the truth to start to seep out. For his bravery he was gunned down on the streets of Denver after this event - no doubtedly because of his role in setting the record straight.
Just scanning negatives from 2003 and spotted these that I thought might be nice to put them up on IG and here. They were all shot in Color but after 17 years the color has mutated which I was surprised at. So when this happens I take the images into BW and they are still quite usable. The first set of images are of an air raid siren that they still use to summon the volunteer fire folks. This is in Fayetteville, NY. The rest of the images are from the cemetery in Fayetteville.
Despite shooting this scene dozens of times, I finally got the look I wanted - not sure how but glad that I finally captured this look
Below is a bass cover of the same song.
I made a trip back to Simla where I was born. Another chance to take pictures on the plains. Highway 24 which takes you from Colorado Springs to Simla has really gotten busy. People are living along this route whereas every 10 years ago there was really nothing between Colorado Springs and Calhan, Ramah and Simla
U.S. Route 24 (US 24) is one of the original United States highways of 1926. It originally ran from Pontiac, Michigan, in the east to Kansas City, Missouri, in the west. Today, the highway’s northern terminus is in Independence Township, Michigan, at an intersection with I-75 and its western terminus is near Minturn, Colorado at an intersection with I-70. The highway transitions from north–south to east–west signage in Toledo, Ohio.
I have been scanning some of the negatives that I shot with the Xpan and wish I still had this camera. To buy one on the used market is very expensive - at around $3-4,000. Fuji made the camera and sold it under their name, Hasselblad sold a version that was just rebadged. You loaded 35 mm film and you could either shoot a standard format negative or a panorama all on the same roll. The lenses were slow at f/4 but this usually means they are very sharp which they were.
Periodically Magnum the photo agency have these sales of small prints - this time I selected this photo of Bob Dylan. While not a huge fan of BD , I like the photo and we plan on framing it for my brother in law who is a huge fan.
While reading an issue of Aperture, 2015 about Tokyo I ran across the phrase that is used to describe the style of Daido Moriyama - roughly translated as ’ grainy, blurry , out of focus’. When I saw it I immediately knew this was perfect.
Some pretty wild weather here on Saturday. The day started out gray and overcast but was decent enough that I went out to High Plains Raceway to watch some open lapping with my friend Tom. Things changed in the afternoon!!
This blog entry started off as so many do with a random, chance discovery. While reading Aperture there was a small note about a Japanese American photographer, Tosh Matsumoto who had been interned at the Amache Camp during WWII. So was Yasuhiro Ishimoto who I talked about in a previous Blog note. With only 10,000 estimated internees, to have two who went on to become notable photographers is worth another blog note.
Ishimoto was born on June 14, 1921 in San Francisco, California, where his parents were farmers. In 1924, the family left the United States and returned to his parents’ hometown within present-day Tosa, in Kōchi Prefecture, Japan. After Ishimoto graduated from Kōchi Agricultural High School, he returned to the United States in 1939, studying architecture at Northwestern University in Chicago for two years. Though he did not complete this program, architecture would hold an important place in his photography.
From 1942 to 1944, he was interned with other Japanese Americans at the Amache Internment Camp (also known as Granada Relocation Center) in Colorado. It was here that he began to learn photography.
Returning to Chicago, in 1946 Ishimoto joined the Fort Dearborn Camera Club for amateur filmmakers and photographers there. He enrolled in the Photography Department of the Chicago Institute of Design in 1948 (later the Institute of Design of the Illinois Institute of Technology) and studied with Harry M. Callahan and Aaron Siskind, graduating in 1952. During this time, he won numerous photography awards, including the Moholy-Nagy Prize, which he won twice.
Ishimoto returned to Japan to live in 1953 and that same year, on a commission from New York’s Museum of Modern Art, he photographed Katsura Imperial Villa (Katsura rikyū) in Kyoto, working in black-and-white. Work from this assignment eventually was published as the book, Katsura: Tradition and Creation in Japanese Architecture (sometimes shortened to Katsura) in 1960. The book has texts by Walter Gropius and Tange Kenzō.
Ishimoto’s work was chosen by Edward Steichen to appear in the Family of Man exhibition and catalogue at the Museum of Modern Art in 1955, and Steichen also selected his work for a three-person exhibition in 1961.
From 1958 to 1961, Ishimoto lived and worked in Chicago on a Minolta fellowship. His photographs from this time, mostly street scenes, were eventually published in 1969 as Chicago, Chicago. After having returned to Japan in 1961, Ishimoto became a naturalized Japanese citizen in 1969. During the 1960s, he taught photography at Kuwasawa Design School, the Tokyo College of Photography and, between 1966 and 1971, at Tokyo Zokei University.
Ishimoto travelled and photograph widely, visiting Southwest Asia in 1966, and South America, North Africa and Australia for three months in 1975. The following year he made trips to Iran, Iraq and Turkey and in 1977 he again visited Turkey, also travelling to Spain and India. He visited China in 1978.
With photographs taken at the temple Tō-ji (also known as Kyōō Gokokuji) in Kyoto, Ishimoto produced an exhibition in 1977 called Den Shingonin Ryōkai Mandala (The Mandalas of the Two Worlds). His photography was later used in a very lavish publication of the same title.
Between 1973 and 1993 Ishimoto produced a number of in-camera color abstractions that appeared as covers for the Japanese magazine Approach. In 1980, at the Museum of Modern Art, he photographed Monet’s Water Lilies in detail and full size.
Ishimoto returned to Katsura in 1982 and took another series of photographs, this time with many in color, often using the same or very similar views to those of his 1953 photographs at the same location. Work from this project was published in Katsura Villa: Space and Form.
His more recent photography dealt with the transitory nature of life as shown in his photographs of clouds, footprints in melting snow and fallen leaves. This theme was also evident in his photographs of Ise Shrine (also known as Ise Jingū), which he was permitted to photograph in 1993. This ancient Shinto shrine is torn down and rebuilt every twenty years.
Ishimoto participated in many exhibitions, including New Japanese Photography at the Museum of Modern Art in 1974, solo shows in 1960 and 1999 at the Art Institute of Chicago, a retrospective in 1989–1990 at Seibu Museum of Art in Tokyo, and an exhibition at the National Museum of Modern Art, Tokyo, in 1996.
Ishimoto’s many awards include winning the Young Photographer’s Contest, Life magazine (1950); the photographer of the year award, Japan Photo Critics Association (1957); the Mainichi Art Award (1970); the annual award (1978, 1990) and distinguished contribution award (1991) of the Photographic Society of Japan; and governmental medals of honour (1983, 1993). In 1996 the Japanese government named Ishimoto a Person of Cultural Merit, an honour that includes a lifelong stipend. In 2004 Ishimoto donated his archive of seven thousand images, valued at 1.4 billion yen, to the Museum of Art, Kochi. In English, Yasuhiro Ishimoto signed his name “Yas Ishimoto”. See examples.
Ishimoto died at the age of 90 on February 6, 2012, after being hospitalized the month before for a stroke.
Born in California, Tosh was also interred at Amache Camp. With a camera and time on his hands he learned photography eventually becoming notable in 1947 to the editors of Popular Photography in the April edition.
For about 10 years Tosh worked as an art photographer but then transitioned into commercial photography. Here are some of his photos from that period of time
Just a little cross posting from my other site prairie madness.com -admittedly I’ve been busier over there. Here are a few shots from our recent trip up to Wyoming and Pawnee Grasslands
On Memorial Day, today I received ‘78’ Issei Suda’s last photo book = published posthumously. Researching his style he is set apart from the other more famous Japanese photographers of his era. He blossomed late in life and to a certain extent his appreciation is continuing to grow. He was never a part of revolutionary groups - like those participating in PROVOKE like Daido and Araki.
In an interview with Ferdinand Brueggemann, a Japanese photography specialist the maturation of the photographer there is different than in the US or Europe. Typically the western photographer hopes to get a gallery showing with book appearances occurring much later.
Books by photographers are second only to photography exhibitions in terms of their importance for the reception of Japanese photography. Books by photographers are of much greater importance in Japan than in the West. In Japan, artists have traditionally presented their works to the public by means of their books and magazines and – as was previously mentioned – young artists are still more likely to have a publisher than a gallerist. -Ferdinand Brueggemann
This video is long but that’s good!
“When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!” - Ted Grant
This whole question of color vs. BW in landscape photography is important. Watching a Youtube video about Robert Adams who I think always shot BW the comment was made that Color hits the viewer like a bold of lightening but with little after affect. Black and White on the other hand may have many levels of understanding and is revealed slowly
The above represents this dichotomy. I would never hang the color photo on my wall - it’s too garish. The Ansel Adams photo to the right would be great on my living room wall if I could afford it!
Spent a couple days near the Pawnee National Grasslands. We opted to stay in a RV camp in Wyoming and make day trips to the grasslands. We were sort of dumb as we thought there was some grand entrance to the area. There is not. There are many county roads that criss cross the grasslands. Much of the western half is taken up with commercial operations like wind farms. This is the result of BLM allowing this on Forest Service lands. When we finally figured out how to get to the Buttes we were able to take a small hike. Our previous visit there many years ago, we were able to park very close to the base of the Buttes - I don’t don’t know if they have eliminated that parking spot.
We also snooped around the area including ending up in Nebraska ! The roads criss cross the tri-state area freely. Ended up at the highest point in Nebraska and also seeing a few Bison at their watering hole
Our last nite there was punctuated by the drama of a hail storm. Airstreams and Hail storms do not mix well. We were lucky as all we had was pea sized hail. Much larger and we would then be faced with a multiple week stay at the Airstream Hospital in Jackson Center, Ohio.
I previously reviewed Astrum 100 which I really liked. This time it was it slightly fasted brother. I tested this in the absolutely worst way - new used camera, new film and guessed at development times. There is a 5 fold chance of something going wrong when doing it this way……but everything worked out fine.
This little beauty is the original Leica CL - not to be confused by the new digital Leica CL. The original film version was a co-developed product with Minolta. With the knowledge that Minolta gained, they put out their own body known as the Minolta CLE - a fine camera but if the electronics go you are in deep trouble. The Leica CL was a very simple swing out/in light meter but if this goes you can get it repaired. It also works without the light meter. I needed a 2nd body that uses Leica M lenses. My plan is to use the CL to shoot Rollei InfraRed film where the exposure is somewhat of guess work anyway. This example was purchased from Tamarkin in Chicago.
Now onto the film - Astrum 200
Astrum 200 was a guess as to the development times in HC110B. I saw one reference only to using 7 minutes. I thought this was a little short so I used 8 minutes and I’m pretty happy with the results. In the past shooting black dogs - I have two - was difficult. It’s still not easy but this film gave me the detail in the fur that I frequently don’t get - the blocking of the black tones makes it impossible to see the detail.
Today was the first day of open lapping at High Plains Raceway during COVID. It was definitely nice to get back to HPR. I did very little socializing. All folks were to wear a face mask when out of their car. 6 feet social distancing. I started the morning with absolutely slow 2:44 lap times. By the time I left I was consistently doing 2:29 which is actually my best from previous seasons. I either need to get better ( I already know how I can do this OR I need a faster car - and in retirement that ain’t happening.)
This picture was taken at the Cheyenne Mountain Zoo. Dad was called in to do surgery on this Ostrich. The vet was gonna tell Dad what all the parts were and Dad was just the technician. Dad handed me his very expensive Rolleiflex Magic to take pictures. The ‘surgery suite’ was just an un-airconditioned shed. It was hot, I was looking at bird guts so naturally I started to faint with an expensive German camera in my hands.
Everything turned out ok for me. Not so much for the bird as it died on the table. Not an auspicious start to my career but I did become a doctor and a photographer. Not something I would have predicted from this early experience.
While cleaning my office I came across a bunch of 120 negatives - most were shot by my Dad but some by me. You can tell the difference - mine were not processed as well. Dad’s were at times corny. For the most part well focused. He was most likely using his Rolleiflex Magic.