Author: Darin

  • If on a  Winter’s Afternoon…

    If on a Winter’s Afternoon…

    You had been wandering the streets for a few hours looking for some scene, some storefront, courtyard, or back alley. Now and then you sought shelter from the drizzle, ducking into a café or standing in a doorway. The dreary sky and glistening cobblestones suited the city, which somehow seems to glow with its own internal light. Although you started in the center amongst the cacophony of shoppers and strollers, you prefer the surrounding districts with their distinct personalities. Your path wound further and further out into the less trafficked neighborhoods. Then, when the snow started to fall, you left the streets behind and wandered into ….

    Alone in a garden with snow-covered fountains.

    A heavy snow had been falling for a couple hours by the time I passed through the gates. It was a lovely evening, I thought, to linger in the imperial gardens. As I wound my way deeper into the gardens I passed the occasional visitor walking back along the pathways toward the exit and the city beyond the walls. We exchanged nods or fleeting pleasantries about the weather. At some point I realized that I had stopped seeing other people. Even their footprints were disappearing gathering darkness. Wandering amongst the trees and past the empty fountains, their sculptures blanketed in snow, I felt as if I had the place to myself.

    Soon even their footprints would disappear.

    Oh shit, I thought, I do have the place to myself. I haven’t seen anybody for at least 30 minutes. It is unmistakably dark now. And although it is not cold, a heavy, wet snow continues to fall from the leaden sky. It’s 7:00 now. What time do they lock the gates? I had only glanced at the sign as I entered, but I seem to recall 5:30. Surely that was just a suggestion, or when they stopped letting people into the gardens.

    Fifteen minutes later, standing in front of the really tall, really locked gates, I am rethinking my decision not to pay attention to the time. There is no one-way turnstile to let people out, as I had vaguely hoped there might be. There is no guard in the guardhouse to save absent-minded visitors from themselves. No. There is just a formidable gate, topped with spikes that are clearly more than just aesthetic embellishments. I have a perverse appreciation for the symmetry of these gates. Originally designed to project an image of strength and authority outwards to the masses, and to keep those people out, these gates and the walls surrounding the gardens work equally well to trap people inside. Just to be sure, I push on the gates. They neither move nor even make a sound. Standing there in the dark silence of the garden, I can hear cars accelerate from the intersection just 50 yards and a 10-foot wall from me.

    Worth every minute of effort.

    After checking various other gates to confirm that they too are locked for the night, I begin looking for the section of wall I can most easily scale, importantly a section without the big, sharp spikes along the top. And I’m wondering what the penalty will be should I get caught. Surely I can talk my way out of a night in jail, but given the local preference for fines, I suspect it will cost me.

    Speaking of fines, isn’t there a police station by one of the entrances? Not, of course, the one close to me. In fact, given the direction I wandered the perimeter, that entrance is rather far from me. Did I mention the snow, which an hour ago was lovely but is now considerably less so? As I trudge back through the snow, I think: I might be spending the night under the stairs behind the palace. At least that’ll be a story.

    Oh good, there’s the station. And I see somebody inside.

    From there the evening got kinda boring.

  • Photos for a Good Cause

    Photos for a Good Cause

    How can photographers help out at right now? Donating time and talent is certainly one way. But given the efforts to maintain distance between people, taking photos of and for others might not be the wisest activity at the moment. And I’m not sure how many people need or are even thinking about photos right now. Photography is something of a luxury. But maybe there’s a way I can use my photography to help others.

    And so: Photos for a Cause. In gratitude for a relatively small contribution I will send you an original, signed photograph (from the gallery of images).

    I will donate proceeds to two local charities: Philabundance and Morris Animal Rescue.

    A contribution of $15 gets an original, signed 5×7 print; $25 gets an 8×10. After covering my costs (paper, ink, envelops, postage), I will be able to donate about $12.50 and $20.50 from each contribution.

    Now to get the word out.

  • Artist’s Responsibility

    Artist’s Responsibility

    It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.

    Robert Adams, Art Can Help, 9
  • Documenting the Effects of Covid-19

    Documenting the Effects of Covid-19

    I have been thinking a lot about how photography can do something worthwhile over the coming weeks. Or more specifically, given my good fortune to have a job that will continue through the current health crisis, I wonder how I can use my photography to do something meaningful. Is there something I can do with my camera that might be useful for somebody beyond me?

    Thinking of previous periods of social distress and upheaval, photographers who have gone out and documented their world have, I think, recorded something meaningful. Beyond the famous images, e.g., Lange’s “Migrant Mother,” there are countless less famous photographers who have pointed their cameras at the world around them as it convulsed and was wracked by traumatic events.

    It seems that today photographer could produce an incredibly robust record, a record that could be compiled into a useful resource for both our present and the future.

    I am only a single person with a camera, but I can document the effects of Covid-19 on my city. So over the coming days and weeks, that is what I will try to do.

  • 52 / 2

    52 / 2

    Whenever I take a photo, it is somehow unfinished until it is a physical print. Some constellation of emotional and aesthetic preferences compels me to edit and print the image so that I can hold the photograph, and can feel its weight and the thickness of the paper. I like to look at the photograph in different light and in different places, sometimes holding one vertically against a wall to see if a framed version might look good there, sometimes rifling through a box of snapshots to recall a moment. Regardless of a photo’s quality or size, I simply and always prefer looking at physical photographs.

    A book or a magazine is a really interesting way to print images. I like seeing how photographs work together, how a book or magazine collects together different photographs into a series that reflects a particular issue or concern. Sometimes those issues reflect fleeting interests from a particular moment. At other times those issues capture an enduring question or problem that fascinates a photographer. Thumbing through magazines or books reveals something about the photographer and that person’s evolving interests.

    That’s why I so enjoy 52, my short, occasional journal. This latest issue reflects on, inter alia, the flâneur and my fascination with windmills. Pairs well with an afternoon coffee and a sweet.

    Let me know if you want me to send you a copy.

  • A Photograph is …

    A Photograph is …

    A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.

    John Berger, Understanding a Photograph, 25.
  • The “undiscovered,” the “forgotten,” and the “unsung”

    The “undiscovered,” the “forgotten,” and the “unsung”

    In 1974 Susan Sontag published her “Shooting America,” which included a critique of Bob Adelman’s Down Home and Michael Lesy’s Wisconsin Death Trip. Along with Sontag’s reflections on documentary photographers’ predilection for the poor, she comments on the growing preference for “raw unliterary record” in both photography and writing. The emerging literary taste for “unedited talk of people into tape recorders, fragments of subliterary documents” is reflected for Sontag in the growing preference for raw, unedited photographs. 1 What links the two, for Sontag, is a false hope that the unedited, the unliterary, the raw produces photographs and prose that are somehow more true to reality. She links this hope to a Surrealist mandate that considers everything real, everything beautiful.

    An old utility pole

    Sontag doesn’t explicitly connect this preference for the raw and unedited, the Surreal, to the constant “discovery” of undiscovered, forgotten, or unsung photographers, but in her lament she implies that the then growing predilection for unliterary and raw photography created and nourished the market for otherwise unknown photographers.

    The preferences Sontag noted in 1974 seem to have become more pronounced since then. With considerable regularity we read about the discovery this or that photographer whose photos, we are told, represent a treasure trove of historical reality. We have inserted ourselves into the narrative because we have “saved” the unknown photographer’s archive from the trash bin or from the garage sale or the thrift store. In that way, we have appropriated for ourselves an active role in saving history. Our heightened sensitivities have allowed us to recognize the value of some box of old photographs and thereby to avert the disaster caused by its loss. But what was at risk of loss? What have we saved? And why was it worth saving? Maybe some things simply should be discarded….

    A pink armoire sits by the curb.

    1. Sontag sharpens her critique when she revised “Shooting America” and published it as “Melancholy Objects” in her On Photography (1977). ↩︎
  • Photographs are not …

    Photographs are not …

    Every image embodies a way of seeing. Even a photograph. For photographs are not, as is often assumed, a mechanical record. Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights.

    John Berger, Ways of Seeing, 10.

  • Haunted by tacit imperatives …

    Haunted by tacit imperatives …

    Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. … In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects.

    Susan Sontag, “In Plato’s Cave,” in On Photography, 6.

  • Intense Observation … Harder Seeing

    Intense Observation … Harder Seeing

    The gesture of photography is different from the gestures of the other visual arts; I hope to show that photography is no less complex, difficult, and visual. Indeed, my belief is that in many ways fine photography is more purely intellectual, purely visual, because the gestures involved are less connected to hand gestures but much more connected to intense observation, to harder seeing.

    Gretchen Garner, “The Photographic Gesture” in The New Art Examiner (October 1976).