The David, Florence, Italy

The David by Joel Addams

Always happy to be back in beautiful Italy, prepping for the Intimate Tuscany Workshop and Tuscany Village Tour with Drake Busath.  I thought I would warm up a little bit in a city that cradles its art.  Of late, I have had an interest in not necessarily photographing works of art for their own beauty, but photographing the interactions of people with them.  I had envisioned this image for sometime, as I wanted to show the absolute madness of our society for this particular statue.

Granted, it is quite breath-taking.  It is massive in its own right, but combined with the aesthetics of the sculpture, The David by Michelangelo evokes a grandeur and beauty of the human spirit.  I sat for awhile sketching out his other, unfinished statues in the hallway leading to the David and also watched people’s reactions as they turned the corner and could see the statue centrally placed in the rotunda of the Gallerie dell’Accademia.  Many people were visibly taken aback, and many tour groups who were forced to listen to the didactics of their guides on other works of art simply could not look away from it and anticipated moving closer.

My goal was produce a black and white image which emphasized the statue as subject, but which clearly showed the immensity of the crowd that is often thronging the statue.  I often wonder if art would be as popular if not institutionalized, brought into the museums and charged large fees for it.  If The David were still standing outside in the rain, would we give it as much attention, make it a destination spot from all over the world.  It seems hard to think otherwise, as the sculpture seems to speak for itself.

www.joeladdams.com

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“Antelope Island and Clouds”

"Antelope Island and Clouds" Utah.  © JoelAddams.com

“Antelope Island and Clouds” Utah. © JoelAddams.com

ANTELOPE ISLAND, UTAH

While shooting with a friend of mine in the west part of the Salt Lake Valley, we noticed what the clouds were doing to the north of us around Antelope Island, one of the state parks that harbor all the bison in a protected sanctuary.  The sun was brilliantly hot, but as the clouds moved overhead, they illuminated parts of the scene, including the island itself.  Multiple images are put together to make this high resolution panorama. I felt like the X-PRO 1 sensor did a fantastic job at both the dynamic range and the detail of this scene.

Camera: Fujifilm X-PRO 1
Lens: Fujifilm 35 mm f/1.4
Settings: ISO400, f/5.6, 1/2000 of a second
Filters:  None

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New York Images

New York has not historically been my favorite place to visit.  Heresy, you say.  I had a hard time in Paris, let’s be honest, and the all the buildings (most of the buildings) are five stories high.  The two previous times I had been there consisted of a few days staying at Times Squares and visiting a brother’s friend in Queens (or was it Brooklyn?).  Anyway, neither one left me stoked on the place, but times have changed.  And I have changed.  A little.

The series of images that I kept from the trip represent a mishmash of new things I’m seeing:  shapes and color sometime predominant with the reflection and luminance of bright shiny things made of metal still captivate me.  I’ve always had a fascination with people in spaces such as museums and train stations and have historically kept those people fairly small in relationship to their surrounds.  Art museums are particularly good for this.  I’ve include a series of some of my favorite images from New York, all in runs of 45 prints.

"Enlightenment" New York, 2012.  Print, limited edition of 45, © Joel Addams

“Enlightenment” New York, 2012. Print, limited edition of 45, © Joel Addams

"Wall, New York" New York, 2012.  Print, limited edition of 45, © Joel Addams

“Wall, New York” New York, 2012. Print, limited edition of 45, © Joel Addams

"We Will Judge You" New York, 2012.  Print, limited edition of 45, © Joel Addams

“We Will Judge You” New York, 2012. Print, limited edition of 45, © Joel Addams

"Grand Central Lights" New York, 2012.  Print, limited edition of 45, © Joel Addams

“Grand Central Lights” New York, 2012. Print, limited edition of 45, © Joel Addams

"Flat Iron, Midday" New York, 2012.  Print, limited edition of 45, © Joel Addams

“Flat Iron, Midday” New York, 2012. Print, limited edition of 45, © Joel Addams

"Surface to Steel" New York, 2012.  Print, limited edition of 45, © Joel Addams

“Surface to Steel” New York, 2012. Print, limited edition of 45, © Joel Addams

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Now on Apple iTunes: eBook “Power of the Glance”

It’s a great day when you see your own book finally available on a ubiquitous distributor of eBooks.  Apple accepted my eBook Power of the Glance: Travel Portraits in Black and White for distribution and is now searchable under Art and Photography Books.  It can be previewed and downloaded for US3.99 here:  http://itunes.apple.com/us/book/id583665473.

Cover and Back of "Power of the Glance: Travel Portraits in Black and White" by Joel Addams

Cover and Back of “Power of the Glance: Travel Portraits in Black and White” by Joel Addams

EBOOK – POWER OF THE GLANCE: TRAVEL PORTRAITS IN BLACK AND WHITE

This ebook has been a long time in the making, with photographs that started in 2005 and 2006.  Some of my first images of people came from Peru in Iquitos while working with the fabulous Hope Alliance.  I can remember that I felt completely nervous and wasn’t quite sure how to approach people.  I think I was nervous about people yelling at me.  That turned out to be silly because as I asked a few older men if I could take their picture, they seemed like it was a privilege.  One of those images is on page 40; the man with the horizontally striped shirt.  It seemed basic at the time, and even now, but I still feel like it was compositionally sound and natural.  Further down the street that day, a young man and his father were running a taxi service and had stopped for a break in the square.  Tucked away in the back was the boy’s young brother who peered at me through saucer-like eyes.  Unwavering dinner plates, actually that just stared at me from a few feet away.  He didn’t move as I lifted the Canon 20D with a fixed 60 mm lens up and focused on his eyes.  It remains one of my favorites, and is on page 46.

“The portrait became more interesting to me after having reviewed the work of great travel photographers and even some commercial photographers who saw in the person, and especially in the face, a wealth of complexity.  The human experience can be played out in no better place that in the human itself, and the study of it can become as exciting as unlocking a riddle or discovering the double meaning of words in a poem.  People seem to hide their experiences, their emotions, and even their desires in the weight of their gesture, in their wrinkles, and of course in their glance.  And this is where the power of the interpreter of the human condition lies, for if one can determine the meaning of the glance, one will know the intentions of the subject.  The careful observation of the mouth, the arms relaxed by one’s side, the desperate nonchalant tension around the eyes all are clues to the meaning of the poetry that makes up a person’s life, but nothing surpasses the power of the glance.”    - Introduction, Power of the Glance

Girl, Terai Region, Nepal. Page 19

Girl, Terai Region, Nepal. Page 19

HARDBACK EDITION

I had initially considered a hardback edition of this book.  I am disappointed that the costs of publishing something that should be kept and well considered as an art are so incredibly high.  They make the costs to the public unreasonably high.  Even though some of the world’s best and most well known art photographers are selling limited editions of their art books (say, 500) at very high prices (say, $585), I don’t this is yet feasible.  I will continue to look for a publisher of the work, as their quality to cost ratio is much higher and would make a fine art book more affordable.

Until then, please enjoy the eBook on iTunes for iPad, iMini, and iPhone for US3.99.  I would appreciate any feedback on the images, layout, experience, cost and delivery methods at joel@joeladdams.com or on this thread.

Thank you all for continuing to follow my work,

Joel

NGOs THAT I SUPPORT

Tissue Banks International
Himalayan Cataract Project
Hope Alliance

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The Tennis Guy – Hasselblad Black and White

The famous 70′s tennis player comes alive again. Zachary Proctor photographed by Joel Addams

The famous 70′s tennis player comes alive again. Zachary Proctor photographed by Joel Addams

The famous 70′s tennis player comes alive again. Zachary Proctor photographed by Joel Addams

The Hasselblad – Swim Goggles

A girl wears a bathing suit and swimming goggles by Joel Addams

A girl wears a bathing suit and swimming goggles by Joel Addams

A girl wears a bathing suit and swimming goggles by Joel Addams

PORTRAITS – HASSELBLAD

Since some of the nieces were in from out of town, it was time to take some portraits my way on the new Hasselblad.  Couldn’t resist the swim goggles when I realized they were going swimming.

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Pottery Making in Baktapur, Nepal

Pottery making in Baktapur, Nepal by Joel Addams

Pottery making in Baktapur, Nepal by Joel Addams

Pottery making in Baktapur, Nepal by Joel Addams

Pottery making in Baktapur, Nepal by Joel Addams

Pottery making in Baktapur, Nepal by Joel Addams

BAKTAPUR, NEPAL

Pottery making seems to me to be one of those fundamental projects in life that is still used out of necessity in many parts of the world and for art in others.  The funny thing is that for whatever reason people do it, it still seems to be art.  The craftsmanship of making something useful and artistic provides that double functionality that seems to make the sum total more than the parts.  Mud + hand spinning a wheel + molding + drying = something really cool.  I photographed this gentleman in the clay capital of Nepal, Baktapur.  He “threw” all day, probably everyday…and for long hours.  He cranked through pots that, visibly inspected, did not seem to have flaws.  Maybe he hit his 10,000 hours about five years ago.  I enjoyed the forms of the pots and the motion, yet again frozen in a single still image. (I’ll post the video soon)

CameraCanon 5D Mark II
LensCanon 50 mm f/1.2 on the blurred backgrounds, Canon 17-40 mm L on wide shots, Canon 100 mm f/2.8 Macro
Settings: Variable, but you gotta slow the shutter speed on the spinning wheel down…
Filters:  B + W UV filter
Other: Postprocessing, Black and White Conversion, some curves/levels adjustments

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The Camera Paintings – Leica and Canon

After the last post about the Leica M Monochrom and its inaccessibility to people such as myself, I thought I should balance the reporting by showing that I actually think they are really well made cameras.  I am a sucker for high quality items, so when my friend Zachary Proctor (oil painter) momentarily put a brush in my hand, what else was I supposed to do with it?  I gave a good shot at the Leica M8 and a Canon AE-1 (my first camera).  The squares are all 12″ x 12″, oil on canvas.

Leica M8 Front View, 12″ x 12″ oil on canvas by Joel Addams

Leica M8, Metal Body, 12″ x 12″ Oil on Canvas by Joel Addams

Leica M8, Black, Top View, 12″ x 12″ Oil on Canvas by Joel Addams

Leica M8, Metal, Side View, 12″ x 12″ Oil on Canvas by Joel Addams

Leica M8, Metal, Top View, 12″ x 12″ by Joel Addams

Leica camera paintings and Canon AE-1 in exhibit April 20, 2012. by Joel Addams

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Leica’s New Camera – the M Monochrom

Leica’s M Monochrom

LEICA’S M MONOCHROM

This is definitely not a review of a very expensive camera, which I will likely never own.  This is commentary on market pressures (even unstudied ones) and the place of the camera is various people’s lives.  Just last week, Leica, a German-based camera manufacturer, notoriously known for crafting fine cameras in the “very expensive” range, announced yet another specialty camera set to retail just under $8,000…and it only shoots black and white.  I edit an online publication for a camera retailer, and the boys who control the press releases were quick to post the news of this camera’s release on both the website and on the company’s Facebook account.  The outcry was swift and unflinching.

“WHY?!?!?!?!”

“What is the point of a black and white digital?”

“affordable.  lol.”

As you can see, the comments were overwhelmingly negative.

In a PDN article, Leica was quick to point out: ”‘To make a digital camera that sees colors, you need filters in front of each pixel, which are then interpolated to create single colors,’ [Stephan] Daniel [Leica's Product Manager] explained. ‘In every case you will lose resolution compared to a sensor that shoots black and white natively. So the images taken with this sensor [in the M Monochrom] have more resolution and are sharper than those taken with the M-9 in color.’ As to whether this camera will signal the death of black and white film, Daniel was more circumspect. ‘We don’t know that yet,’ he said. ‘In some ways, it’s an experiment. But I can say this: on a purely technical level, there’s no reason to use black-and-white film anymore.’”  I include this statement simply to give the reason behind such a move to make a black and white only sensor by Leica while this practice is not exactly the trend.  It does seem like an interesting concept, however, and for those who really enjoy black and white photography, this may signal a new trend in their digital photography…if they can affordably get their hands on one.  It is in this vein that I wish to speak to those who again leave their frustrated and petty comments smeared across the social media, acting often more like entitled adolescents than educated adults.

The camera was not made for you.

Nor was it made for me, in fact.  If you can’t easily come up with this money ($8000USD) comfortably in, say, the next year, then you were once again not the target demographic of Leica.  No reason to get mad or even alarmed.  Photographers (and this goes for other fields as well) often feel entitled to have whatever is put out on the market, not understanding the marketing strategy that is so well played by a company like Leica.  They actually don’t want you to own the camera.  If you or I could afford the camera, it would lose the vast majority of its mystique, its “untouchableness,”  its value.  Yes, its value.  Having an unknown photographer such as me actually prance around with a Ferrari of a camera would only make the Ferrari look bad.  I wouldn’t be pulling up to any posh parties in Monaco or hugging the turns on Highway 1 back to my villa in Hollywood.  I’m a detriment to the company.  Leica, just like other high end brands, wants to keep a price that hovers in the range of “I can’t believe she bought that.”  Then when that person pulls it out at a party, she (or he) gets the true value of the camera…excellent craftsmanship plus the attention and noteriety of actually owning it.  Perceived value is still value.  This goes for photographic prints, paintings, vintage Porsches, and celebrities showing up at your tennis match.  It’s the intangibles of celebrity which translate into value of something.  It’s why men wear expensive suits…and then let you know it.  It’s why women want Jimmy Choo’s in some cultures.  It’s why men and women in Nepal, India, Peru, Egypt, and Morocco all have asked me the same questions:  ”Are you married and how many kids do you have?”  Each society places perceived value of products and goods and even lives on different items, and Leica has simply entered the ring of quality products by producing excellent cameras, branding themselves, and placing a price tag on their items that continue to hold the value (perceived or otherwise).

So to the questions from the reader as to “WHY?!?!?!?!” they made the camera, the answer is simple:  ”They could make the camera, and they thought it would make money.”  It will.  To the question, “What is the point of a black and white digital?” I included Leica’s answer in the second paragraph of this article.  Whether you think that is valid line of reasoning is up to you.  To the comment, “affordable. lol”  the answer is “not for you.  Nor was it intended to be affordable to you, just as Ferrari and Jaguar as companies did not intend for you to own one of their cars.”

For some reason, I am totally fascinated with the concept of value.

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“Found Photography” Photobooth, Paris, France

Photobooth portrait, Paris, France. Circa 1996.

PARIS, FRANCE

This is not my idea.  In fact, it’s not really the idea of Amelie.  I know, I know.  That’s sacrilege to say, but one of my friends in Paris in 1996 started collecting leftover portraits from photobooths as a hobby.  In fact, it was a little trend that caught on.  I had a pretty good collection going at one point, but I can only find one now.  This gentleman, along with hundreds of others, probably just got frustrated with waiting or didn’t understand that he had to wait a full three minutes. Whatever the reason, there is something a bit artistic about the double diptych, not one representation but an identical four.  In addition, the black and white prints that come out of the old machines have a texture and feel that is fantastic. Too bad I can’t call myself the photographer, just the collector of interesting photographs on this one.

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