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The Viennese royalty must have had a sense of humor. In 1562, Giuseppe Arcimboldo became the court portraitist, a position of honor and dignity, for…

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Frederick Wiseman's 'Welfare' - Final Scene

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Model (1981) - Frederick Wiseman - "Peacock effect" scene

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Frederick Wiseman - High School (1968) Extract : Simon and Garfunkel : The Dangling conversation

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Barbara Hazen’s portfolio was chosen as a work of merit in the 2025 Rfotofolio Call by juror Melanie Walker .“This body of photographs is compelling in its ability to transform utilita…

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True Black & White Prints from Digital - Fromex True Black & White

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Black and White Film Processing from Digital, upload your digital files to obtain True Black and White Prints

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Walker Evans: Catalogue of the Collection

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Nearly twelve hundred vintage prints by master photographer Walker Evans are presented here along with a wealth of biographical and bibliographical information.

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Erich Auerbach's Mimesis | Chapter 1 | Homer and the Old Testament

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The World is a Window: Making The Colour of Pomegranates

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Historic Process Demonstration: Clouds & Combination Printing

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The Collodion - Photographic Processes Series - Chapter 5 of 12

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Our 2025 Reports on Artificial Intelligence | 60 Minutes Full Episodes

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The Impact of AI-Generated Art on Photography & Creative Pursuits | Master Your Craft

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Why Swiss watches made by Richard Mille, Patek Philippe are so expensive | 60 Minutes

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Magical Mini Waterfall in a Bowl (🌿 DIY Nature Scape)

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How I Make Mini Tabletop Garden with Real Flowing River

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Welcome to the official Paste Magazine YouTube channel, home to thousands of exclusive live performances, studio sessions, interviews, and cultural moments from today’s most exciting artists. From breakout indie acts to legendary icons, Paste has been capturing intimate, one-of-a-kind performances in our studios and on stages around the world for over two decades. Paste Studio Sessions feature the best in indie rock, folk, Americana, hip hop, pop, alternative, and beyond. With a reputation as a tastemaker in the music and entertainment world, Paste continues to champion creativity and discovery. Whether you’re here to discover new artists or revisit timeless performances, our channel is updated weekly with fresh content and performances from the archive that celebrate the best in music, culture, and creativity. Join our community of music lovers and cultural explorers.

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Music for Resilience on 19th Century Lute - "Invitation" - Nao Sogabe

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History of Photo Collage with Sarah Hadley

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Mike Szpot aka "illkoncept" is a New-York based artist and professional photographer who specializes in street, urban, travel, and commercial photography. Mike is a storyteller whose photographs evocatively shed light on beauty in the mundane and fleeting moments often overlooked by others. His art

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Cinematic Reality: NYC | New York Street Photography

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安曇川 と 竹竿職人の小さな幸せ │ A Little Happiness Of Fly Rod Builder

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You’re Not Behind (Yet): How to Learn AI in 17 Minutes

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BIG INK Woodcut Workshop at the Hive, Spokane, WA

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Exploring Ansel Adams' legacy with Richard Misrach

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World famous and Iconic Must-See Bonsai (Touring the US national Bonsai and Penjing Museum)

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What Is Penjing - Discussion & Creation of a Bonsai Landscape

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Michael Jackson talks about his ways of working with the cameraless photography Luminogram  Process

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Chemigram presentation by Sophie Sherwood

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Michael Jackson - Luminogram - cameraless photography

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How to ESCAPE THE MATRIX: Motorcycle Adventure & film photography

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Science and Spirit (Full Version): A Talk Given by David Bohm

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The Art of Fran Forman : over a decade of works arranged in 12 portfolios and an archive.

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Submerged! Photograph flowers underwater with paint - Macro Photography technique

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How to image transfer your photos using essential oils / painting and testing new watercolor set

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Romantic photographs of frozen flowers in blocks of ice capture the fragility of nature

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Romantic photographs of frozen flowers in blocks of ice capture the fragility of nature.

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Robert Peek Takes Flower Photos That Are Hauntingly Beautiful

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When Robert Peek takes flowers and ink, mixes them with creativity, and sprinkles a dash of melancholy, he creates artistic wonders.

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"Too often, the genre traffics in the aesthetics of nature instead of the inner workings of ecology." - Jimmy Fike

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wild edible botanicals of the north american continent

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The History Of Japanese Culture | 3 Hour Special

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Desktop Wallpaper No. 1 “you matter” (Digital download) $2.99

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Botanical Dances — Huntington Witherill Photography

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Huntington Witherill’s official website. Specializing in fine art landscape, architectural, floral, abstract, color, and black and white photography by Huntington Witherill. Website features numerous distinctive galleries of photographic work ranging from classic black and white landscapes, to digital based surrealistic abstractions. The site also contains biographical information, audio and video interviews and presentations , articles written by and about the photographer, reviews, workshop and exhibition listings, a quarterly newsletter, and much more.

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"Yū-gen is a complex word, more felt than described in words. I want viewers to 'feel' what it is like for Ryuijie and me when we free dive and photograph." Chuck Davis

Yū-gen | The Language of the Sea, Photographs by Chuck Davis and Ryuiji can be seen at The Monterey Museum of Art, August 30 - December 8, 2024

Thank you Chuck Davis for sharing this video.
Please play full screen if possible with sound on.

Today we are pleased to share the work of Chuck Davis and Ryuijie

Click on images to see a different view.

Ryuijie

To learn more about the work of Chuck Davis please click on his name.

To learn more about the work of Ryuijie please click on his name.

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"Yū-gen is a complex word, more felt than described in words. I want viewers to 'feel' what it is like for Ryuijie and me when we free dive and photograph." Chuck Davis Yū-gen | The Language of the Sea, Photographs by Chuck Davis and Ryuiji can be seen at The Monterey Museum of Art, August...

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Everything you Need to Know About the Book Module in Lightroom Classic

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Everything You Need to Know About Masking in Lightroom Classic

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Waterslide Decals on Wood, Metal and Glass. An Alternative to Photo Transfers

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Vlog #4 - Mordançage portrait project for Hair and beauty Salon Silva

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Brittany Nelson: Who Knew Photography Could Be So Dangerous?

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Elizabeth Opalenik / Mordancage & Reflecting on the Edge

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Cyanotypes, also called sun prints, are one of the oldest photographic printing processes dating back to 1842. Sir John Herschel developed this first silver less photographic process using only 2 chemicals and the sun as a light source. These sun prints are decidedly low tech as the final image of a cyanotype appears only with the aid of sunlight as a light source and water for a developer. This inexpensive, simple and permanent process was used for the blue print process for copying architectural plans, hence the name, "blueprint." My attraction to the Cyanotype process is the physical involvement during the printing process, allowing me to use my hands, eyes, and intuition when printing. I like the way the light, time, salts, and myself combine together to slowly deposit them on beautifully handcrafted paper. The depth of the tactile experience and the imposed slowness reveals moods and nuances in my images that I wouldn't normally see. I find this process much more satisfying than simply pressing PRINT on the computer. I undercoat each paper with watercolors and sprinkle turmeric here and there for a pop of yellow color. The plants are placed on the paper, soap bubbles and plastic wrap are placed over the image and exposed to the sun.

1 - 28 of 28 wet cyanotype botanicals wall art for sale

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Jane Linders Wet Cyanotype botanicals Wall Art

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Wet Cyanotype botanicals - Buy wall art from Jane Linders. All wall art ships within 48 hours and includes a 30-day money-back guarantee. Choose your favorite designs and purchase them as canvas prints, art prints, posters, framed prints, metal prints, and more!

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To read our interview with "Garden of Beauty." To learn more about Brigitte Carnochan please visit her site at, Brigitte Carnochan.

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Sapna Reddy: How To Effectively Communicate Through Photography | #BHOPTIC

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Macro Flower PhotographyTutorial using the Nik Collection 3 by DxO

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Exhibitions, Events, and Honors
2022

41st Annual Buffalo Bill Art Show & Sale - Center of the West in Cody, WY
"Spirit of the West": Best in Show Award

16th International Art Renewal Center Salon, Annual Competition, Finalist

2021

15th International Art Renewal Center Salon, Annual Competition, Honorable Mention

40th Annual Buffalo Bill Art Show & Sale, Center of the West in Cody, WY

Exhibition: Fall Auction , The Salmagundi Club, NY
Merit Award

2020

14th International Art Renewal Center Salon, Annual Competition, Honorable Mention

Exhibition: "Luminous Landscapes", Weeks Gallery, Jamestown, NY

Solo Exhibition: "Poetic Presence", Meibohm Fine Art, East Aurora, NY

2019

13th International Art Renewal Center Salon, Annual Competition, Honorable Mention

"Shades of Gray" Inaugural Exhibition of the American Tonalist Society

"Metamorphosis" Exhibit Oxford Gallery, Rochester, NY

"Dusk to Dawn" Exhibition, Meibohm Fine Art, East Aurora, NY

"In a Nutshell" Exhibition, Meibohm Fine Art, East Aurora, NY

2018

12th International Art Renewal Center Salon, Annual Competition, Honorable Mention

American Masters Exhibition & Sale, Salmagundi Club, New York City, N

"The Eye of the Beholder" Landscape Exhibition, Trees Place, Orleans, MA

"Ode to Joy" Exhibit, Oxford Gallery, Rochester, NY

2017 2016

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

International Art Renewal Center Salon Exhibition MEAM in Barcelona, Spain & Salmagundi Club in NYC

Landscape Exhibit Oxford Gallery, Rochester, NY

10th International Art Renewal Center Salon, Annual Competition, Honorable Mention

Members Landscape Exhibition Salmagundi Club, New York, NY

"Staff Picks" Exhibit, John Pence, San Francisco, CA

Landscape Exhibit, John Pence, San Francisco, CA

Landscape Exhibition, Trees Place, Orleans, MA

2015

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

9th International Art Renewal Center Salon, Annual Competition, Honorable Mention

International Art Renewal Center Salon Exhibition, MEAM in Barcelona Spain & Salmagundi Club in NYC

Annual Members Exhibit & Sale, Philip Isenberg Memorial Award Salmagundi Club, New York City, NY

Solo Exhibition: "Interludes of Light", Meibohm Fine Art, East Aurora, NY

Group Exhibition: "Still Life & Florals" John Pence Gallery, San Francisco, CA

"MANmade Art: A Cross-Generational Survey", Kenan Center, Lockport, NY

Group Exhibition: "The Condition of Music", Oxford Gallery: Rochester, NY

"Landscapes Across America", Trees Place Gallery, Orleans, MA

Group Landscape Exhibition, Grand Central Atelier & Eleventh Street Arts New York, NY

2014

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

Artist Residency Recipient, La Napoule Art Foundation & Grand Central Atelier Château de La Napoule, France

Group Exhibition: "A Moveable Feast", John Pence Gallery, San Francisco, CA

Group Exhibition: Trout Unlimited, Burchfield Penny Art Center, Buffalo, NY

Group Exhibition: "Proverbs and Commonplace", Oxford Gallery, Rochester, NY

Instructor & Senior Fellow, Grand Central Atelier, Hudson River Fellowship with Jacob Collins

Taught Summer Intensive Landscape Workshop: Jackson, NH, Senior Fellow, group presentations

2013

PleinAir Salon, Best Nocturne

Designated as "Associate Living Master" through the Art Renewal Center

Still Life Group Show, John Pence Gallery, San Francisco, CA

Salon International 2013 Juried Exhibition, Greenhouse Gallery of Fine Art, San Antonio, TX

Oil Painters of America: Juried Salon

Instructor & Senior Fellow, Grand Central Atelier, Hudson River Fellowship with Jacob Collins

Taught Summer Intensive Landscape, Workshop: Jackson, NH, Senior Fellow, group presentations

2012 2011 2010

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

Oil Painters of America Juried National Show, Legacy Gallery, Scottsdale, AZ

Hudson River Fellowship with Jacob Collins, Senior Fellow in Summer Intensive Workshop: The Institute for Classical Architecture and Classical America, Hunter, NY

Landscape Group Show, Cavalier Galleries, Greenwich, CT

Juried Group Exhibition, Art Dialogue Gallery, Buffalo, NY

Juried "Thumb Box" Group Exhibition, Buffalo Society of Artists, Tonawanda, NY

"Let There be Light" Group Exhibition, Oxford Gallery, Rochester, NY

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

2009

Small Works Group Show, Cavalier Galleries, Greenwich, CT

Boston International Art Show, Represented by Arcadia Gallery, New York City, NY

Hudson River Revival: Contemporary, Landscape Painting Group Show, Springville Museum of Art, UT

Juried National Exhibition, Oil Painters of America, Santa Fe, NM

Juried Regional Exhibition, Corse Gallery & Atelier, Oil Painters of America, Jacksonville, FL

Hudson River Fellowship with Jacob Collins, Senior Fellow in Summer Intensive Workshop: The Institute for Classical Architecture and Classical America, Hunter, NY

Three Person Exhibition, Art Dialogue Gallery, Buffalo, NY

"Night" Group Exhibition, Oxford Gallery, Rochester, NY

2008 2006-7

"Artists Among Us" group exhibition, Burchfield Penny Art Center, Buffalo, NY

"Collectors Gallery" group exhibition, Albright Knox Art Gallery, Buffalo, NY

Cover Art for Ani Difranco's Compilation CD "Canon"

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

Let's Connect

To inquire about availability and pricing of my artwork, or to discuss the process of commissioning work, please reach out.

Thomas Kegler Studios, LLC
PO Box 95
East Aurora, NY 14052
(716) 550-6094
tom@thomaskegler.com
©2023 Thomas KeglerSite By
Ingenious, Inc.

10% of the proceeds from all sales will be tithed to benefit various not-for-profit, Catholic Missionaries, and environmental organizations.

"SOLI DEO GLORIA"

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Exhibitions, Events, and Honors 2022 41st Annual Buffalo Bill Art Show & Sale - Center of the West in Cody, WY"Spirit of the West": Best in Show Award 16th International Art Renewal Center Salon, Annual Competition, Finalist 2021 15th International Art Renewal Center Salon, Annual Competition, Honorable Mention 40th Annual

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(English Sub) Portrait of Nature - Myriads of Gods on Platinum Palladium Prints -

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「自然の肖像 〜八百万の神々〜 ／ Portrait of Nature 〜Myriads of Gods〜」
The introduction of photographer Nobuyuki Kobayashi.

Dir+Cam+Edit : Yasuhito Tsuge
Composer : Ayako Taniguchi
Producer : Hidetaka Ino 
Production : augment5 Inc.

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If you are generating a PDF of a journal article or book chapter, please feel free to enter the title and author information. The information you enter here will be stored in the downloaded file to assist you in managing your downloaded PDFs locally. Thank you for your request.

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Please click on images to see a different view. Curiosity Sticks and Stones Shrine Still Here To learn more about the work of Lou McCorkle please visit her page by clicking on her name.

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Uploaded by Connie Martinson on 2010-09-18.

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How To Take A Fine- Art Portrait | Gemmy Woud-Binnendijk A PRO EDU Photography Tutorial

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Modern Fine Art Portraiture Inspired by the Old Masters | B&H Event Space

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Transform a Photo to a Realistic Oil Painting - Photoshop Tutorial

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Bernd Webler Interview Bernd Webler Gallery Bernd Webler Website

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Jennifer Schlesinger is an artist, curator, educator and gallerist in fine art photography. This website is dedicated to the contemporary fine art photography created by Jennifer Schlesinger, based in Santa Fe, New Mexico, focusing on darkrooom processes including albumen and gelatin silver prints.

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Interview for Rfotofolio

Would you please tell us a little about yourself?
My name is Bernd Webler. I live in Wiesbaden, Germany. I was born 1962 in Trier and grew up in the Middle Rhine Valley,

an area I still feel very connected to. I have been drawing and painting pictures as long as I can remember.

After school I studied graphic design in Mainz focusing mainly on book illustration.

(During my studies I illustrated books by E.T.A. Hoffmann, Franz Kafka, Oscar Wilde and even my own little stories.)
In the mid 80s I started to work as an illustrator but not for long.
I then began to work as a freelancer for television as a graphic designer and typographer (which I still do today).

It is not a fulltime job thus leaving me enough time to realize my own ideas without having to worry how to pay my rent.

How did you get started photography?
Only a few years ago in early 2013 when I visited an exhibition showing some abstract front cover photos for ECM records.

Until then, photography had never played an important role in my life. Though I always had a camera and took snapshots

like everyone else did. On that very day I went home turned to my computer and dug out some old photos of mine showing

the river Mosel that had completely frozen over in 2012. I started to process them using Photoshop, inspired by but not trying

to copy what I had seen earlier. This was how my first series "Frozen" came into being followed by many others.

(Most of them can be seen on my website.)

I soon started to integrate textures into my images. I took pictures of concrete walls, wood plates, rusty metal and all kinds of material

that seemed to fit. Camera and computer have replaced my pencil and brushes ever since.

Where did you get your photographic training?
Photography was one of the subjects during my study of graphic design, although I have to add not my favorite one.

I gained some basic knowledge of analogue photography back then but never got into it very deep.

I do not see myself as a professional photographer. My work is more influenced by painters.

Did you have a mentor?
Not as such. But I remember my art teacher in school who very early arouse my interest and enthusiasm for any form of art.

He always encouraged me to study either art or graphic design.

If you could spend a day with any other photographer or artist living or passed who would it be?
I would like to spend a day with Andy Goldsworthy. I admire his work and his understanding of nature. I am fascinated by the efforts he is undergoing to create his art, that often exists only for a few hours. The only evidence of its existence, the photos he takes.

What hangs on your own walls?
I am obsessed with music and have an almost insane collection, so a lot of space is covered with LPs and CD racks.

But there is some space left for pictures of fellow artists and some for my own work.

Would you share with us an image (not your own) that has stayed with you over time and why?
This would definitely be the painting, "Isle of the Dead" by Arnold Böcklin (1827-1901).
There are five versions of it. I saw the first version from 1880 when I was young in a museum in Basel. This picture of inexplicable artistic power and breathtaking beauty left me speechless. It might be one of the reasons for my own obsession with the subject of transience

which is obvious in most of my work.

What image of yours would you say taught you an important lesson?
I can not think of one special image. But an important lesson was when I first realized that my photography had a somewhat personal look.

It was when a former fellow student of mine saw my images and commented they remind him very much of my illustrations.

Is there one thing that you wish people would stop doing

when it comes to the creative process or the photographic world?
I often hear that among many photographers there is little acceptance of computer altered images.

Wouldn't it be wise to rather judge a picture by what it has to offer than by how it was done?

If a picture captures your interest what does it matter if it came directly out of the camera or had thoroughly been

composed using digital technology.

Whats on the horizon?
Right now I am still focused on shooting landscapes. It is my favorite subject momentarily.
Maybe I will go back to do more abstract images again in the future. I do not know. I let it come to me.
Lately I have been doing some artwork for various musicians and their CDs and LPs.

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Interview for Rfotofolio (September 2016) Would you please tell us a little about yourself? My name is Bernd Webler. I live in Wiesbaden, Germany. I was born 1962 in Trier and grew up in the Middle Rhine Valley, an area I still feel very connected to.

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Forever - Photographs and text by Paul Rider | LensCulture

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These old-school photograms are artful, abstract, mysterious, and a shocking reminder that discarded plastics will never break down naturally — art as a wake-up call

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As a child I went on archaeological digs with my father. Tiny shards and arrowheads revealed stories that enriched the land around us. Much of my artwork imagines phenomena both seen and unseen.

I'm compelled by opposites: The contrast of flatness with the volumetric, fluidity with stillness, of science with the metaphysical. What is the architecture? What is the symbolism of the vessel? Is it a place of potential, never finalized, always filling and emptying, or going from one place to another?

My images start as drawings, then become temporary constructions that are photographed and then become flat again.

- Rebecca Horne

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Vessel Collection - Photographs and text by Rebecca Horne | LensCulture

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As a child I went on archaeological digs with my father. Tiny shards and arrowheads revealed stories that enriched the land around us. Much of my artwork imagines phenomena both seen and unseen. I'm compelled by opposites: The contrast of flatness with the volumetric, fluidity with stillness, of science with the metaphysical.

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Inaugurated on June 18, the new art center Plateforme 10 in Lausanne, Switzerland, brings together three museums devoted to photography, painting, and contemporary art. Their first themed exhibition focuses on the train.

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Blind Magazine - Photography at First Sight

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Inaugurated on June 18, the new art center Plateforme 10 in Lausanne, Switzerland, brings together three museums devoted to photography, painting, and contemporary art. Their first themed exhibition focuses on the train.

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Mariana Bartolomeo Interview Mariana Bartolomeo Gallery Mariana Bartolomeo Website

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Mini Meditations are small scale works that explore a range of ideas, media, tools and themes. These may be in a different form such as concertina books. More details to follow!

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Solitude is an important aspect of creative thought. You could make an argument that in our information overloaded world where our senses are stimulated nearly 18 hours a day, solitude and calming our minds is more important than ever. Walking allows us time to play with ideas, explore concepts, and be wrong in our thinking without worrying about others seeing the rawness of our thoughts.

I've never been a big walker, but after reading Frederic Gros' A Philosophy of Walking, I became one. I started walking at lunch. I started taking walking meetings and walking phone calls. Not only has it improved my health but it's clarified my thinking.

In the book, Gros explores people and lives that were shaped by walking. He ponders Thoreau's seclusion, why Rimbaud walked in fury, Nerval and his cure to melancholy. Rousseau and Nietzsche walked to think. Kant walked through his town at the same time daily to escape the "compulsion of thought."

Walking is not a sport.

Walking is not a sport. Sport is a matter of techniques and rules, scores and competition, necessitating lengthy training: knowing the postures, learning the right movements. Then, a long time later, comes improvisation and talent.

Sport is keeping score: What's your ranking? Your time? Your place in the results? Always the same division between victor and vanquished that there is in war - there is a kinship between war and sport, one that honours war and dishonours sport: respect for the adversary; hatred of the enemy.

Sport also obviously means cultivation of endurance, of a taste for effort, for discipline. An ethic. A labour.

Walking is not a sport. Putting one foot in front of the other is child's play. When walkers meet, there is no result, no time: the walker may say which way he has come, mention the best path for viewing the landscape, what can be seen from this or that promontory.

[...]

Walking is the best way to go more slowly than any other method that has ever been found.

Freedoms

[T]here is the suspensive freedom that comes by walking, even a simple short stroll: throwing off the burden of cares, forgetting business for a time. You choose to leave the office behind, go out, stroll around, think about other things. With a longer excursion of several days, the process of self-liberation is accentuated: you escape the constraints of work, throw off the yoke of routine. But how could walking make you feel this freedom more than a long journey? ... only walking manages to free us from our illusions about the essential.

[...]

Walking can provoke these excesses: surfeits of fatigue that make the mind wander, abundances of beauty that turn the soul over, excesses of drunkenness on the peaks, the high passes (where the body explodes). Walking ends by awakening this rebellious, archaic part of us: our appetites become rough and uncompromising, our impulses inspired. Because walking puts us on the vertical axis of life: swept along by the torrent that rushes just beneath us.

What I mean is that by walking you are not going to meet yourself. By walking, you escape from the very idea of identity, the temptation to be someone, to have a name and a history.

[...]

During long cross-country wanders, you do glimpse that freedom of pure renunciation. When you walk for a long time, there comes a moment when you no longer know how many hours have passed, or how many more will be needed to get there; you feel on your shoulders the weight of the bare necessities, you tell yourself that's quite enough - that really nothing more is needed to keep body and soul together - and you feel you could carry on like this for days, for centuries. You can hardly remember where you are going or why; that is as meaningless as your history, or what the time is. And you feel free, because whenever you remember the former signs of your commitments in hell - name, age, profession, CV - it all seems absolutely derisory, minuscule, insubstantial.

Walking Philosophers

As you would expect, the book explores philosophers and their relationship to walking. Nietzsche was a walker. He wrote:

Sit as little as possible; do not believe any idea that was not born in the open air and of free movement - in which the muscles do not also revel. All prejudices emanate from the bowels. - Sitting still (I said it once already) - the real sin against the Holy Ghost.

When he wrote, The Wanderer and His Shadow, he walked, alone, for up to eight hours a day. Nietzsche would stop to scribble notes in small notebooks with a pencil. The entire book, except for a few lines, was thought out and composed en route.

Walking is different things to different people. To Nietzsche walking was more than relaxation, it was where he worked best.

"Think while walking," Gros writes "walk while thinking, and let writing be but the light pause, as the body on a walk rests in contemplation of wide open spaces."

While Nietzsche walked to work, Kant walked to escape. This was his way to escape - "a distraction from work."

Like Nietzsche - although with different emphasis - (Kant) was concerned with only two things apart from reading and writing: the importance of his walk, and what he should eat. But their styles differed absolutely. Nietzsche was a great, indefatigable walker, whose hikes were long and sometimes steep; and he usually ate sparingly, like a hermit, always trying out diets, seeking what would least upset his delicate stomach.

Kant, by contrast, had a good appetite, drank heartily, although not to excess, and spent long hours at the table. But he looked after himself during his daily walk which was always very brief, a bit perfunctory. He couldn't bear to perspire. So in summer he would walk very slowly, and stop in the shade when he began to overheat.

Rain or shine, Kant had to walk.

(Kant) went alone, for he wanted to breathe through his nose all the way, with his mouth closed, which he believed to be excellent for the body. The company of friends would have obliged him to open his mouth to speak.

He always took the same route, so consistently that his itinerary through the park later came to be called 'The Philosopher's Walk.' According to rumor he only ever altered the route of his daily constitutional twice in his life: once to obtain an early copy of Rousseau's Emile, and to join the scramble for hot news after the announcement of the French Revolution.

Speed

Many people think that walking fast is the key. We're driven to get from point A to point B and we need to get there as quickly as possible. This is not leisure. Nor is it restful.

Gros claims the lesson, "in walking," is that "the authentic sign of assurance is a good slowness." He later continues:

The illusion of speed is the belief that it saves time. It looks simple at first sight: finish something in two hours instead of three, gain an hour. It's an abstract calculation, though, done as if each hour of the day were like an hour on the clock, absolutely equal. But haste and speed accelerate time, which passes more quickly, and two hours of hurry shorten a day. Every minute is torn apart by being segmented, stuffed to bursting. You can pile a mountain of things into an hour.

Solitude

Nietzsche, Thoreau, and Rousseau think we should walk alone.

Being in company forces one to jostle, hamper, walk at the wrong speed for others. When walking it's essential to find your own basic rhythm, and maintain it. The right basic rhythm is the one that suits you, so well that you don't tire and can keep it up for ten hours. But it is highly specific and exact. So that when you are forced to adjust to someone else's pace, to walk faster or slower than usual, the body follows badly.

So, Gros concludes, "it's best to walk alone." But we are never alone. Thoreau wrote: "I have a great deal of company in the house, especially in the morning when nobody calls."

***
A Philosophy of Walking explores the purpose walking served to Thoreau, Rousseau, Kant, and more.

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Thoreau, Nietzsche and Kant on a Philosophy of Walking

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Solitude is an important aspect of creative thought. You could make an argument that in our information overloaded world where our senses are stimulated nearly 18 hours a day, solitude and calming our minds is more important than ever.

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This essay by Bruce Barnbaum is really effective at describing how to approach each of these mediums.

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Let me start by saying that after nearly 50 years of film photography - primarily large format 4x5 - I have been shooting digital imagery for the past ten years, and I've been processing digital imagery for three of my books: "Art of Photography" "Plateaus and Canyons"and "Essence of Photography". So, at this point I feel I'm qualified to discuss both digital and traditional photography with some degree of understanding of both. I should also admit that while I have quite a bit of experience with digital, I do not consider myself an expert, but a competent user.

There are several basic points I wish to emphasize in this article. The first is that traditional photography carries a host of powerful tools in its tool chest that are neither diminished nor superseded by digital. Second, digital has its own powerful tools. Third, both have limitations, but there are problems with the misuse of digital teaching and methods that should be recognized and openly discussed along with digital's many attributes.

There is nothing about digital photography that forces lack of thinking, but there is much about digital photography that encourages it. You can grab the camera, point it at a scene and shoot almost immediately. Then you can look and even delete if you're not satisfied. Not much thinking involved there. Having started using digital after nearly 40 years of traditional 4x5" film camera usage where I learned to carefully compose each image before exposing a negative, I find it hard to make an exposure - a so-called digital "capture" - without doing at least an initial quick assessment of some basic compositional elements within the scene...and also give thought to the quality of light before pressing the shutter. Unfortunately I see far too little of that from most digital users, especially those who have learned photography with digital equipment. Many seem so eager to "get it" (i.e., the picture) that they have no thought, whatsoever, to the elements of photographic art that could make it relevant. Thought can - and should - be injected into the digital process right from the start.

After 25+ years of development digital photography is still relatively new, yet some fine work has already been produced. Traditional photography has been around for more than 180 years, and extraordinary work has been produced by hundreds of greats, including Kertesz, Adams, Weston (both Brett and Edward), Cunningham, Emerson, Sudek, Mark, Uelsmann, Salgado, Porter, Sander, Haas, Caponigro, Cartier-Bresson, Riis, and many, many others. We can expect fine work in the future from both approaches.

Unfortunately, we can also expect a plethora of bad work from both approaches, which brings me to my starting points about digital. A computer is a tool, nothing more, nothing less. A camera is a tool. A darkroom is a tool, nothing more, nothing less. A paintbrush is an artistic tool. A pencil is one, too. A computer will not turn the average person into an artist any more than any of the other tools will do so. It's the mind behind the tool that creates art, not the tool. Those who think they will make an artistic breakthrough by approaching photography through digital methods are in for a tremendous surprise. It would be like thinking that by going to a pen you'll become a better writer than you have been through the use of a pencil.

Over the past several years I have heard from workshop students that some are turning to digital because of convenience. They tell me they can start and quit at any time, save what they have where they are, and continue when it's again convenient. That's fine if it keeps you in photography, but it should be noted that none of the great work in photography was done when it was "convenient." It was done by people who were committed to self expression, by people who put other things aside to do photography because it was so important to them. It was not done by people who put photography aside until it was convenient. That's not my opinion; that's a fact. That fact won't change. Work will be produced in times of convenience, but it won't be outstanding work. The people who will do great digital work will be as artistically visionary and as committed to it as the great photographers of the past and present who have been committed to their work. People doing it on a "convenience" basis will not produce much of lasting value.

None of this should be surprising. Great work in any field - artistic, scientific, business, etc. - is always done by people who are driven, are committed, are enthusiastic, and are totally involved. Einstein did not create his revolutionary theories in times of convenience. Picasso did not create his great paintings when it was convenient. They - and all others who have been creative - put everything else aside to do their great work, and their lives were fully devoted to these endeavors. But how many who are doing photography have the illusions that you are in the league with Ansel Adams or Edward Weston, or any of the other "greats" in the history of photography? Probably very few of us. So what's wrong with doing work when it's convenient? Nothing! In fact I would have to concede immediately that if it does, indeed, keep you in the game, in your hobby, in your passion, and it allows you to proceed with your passion when you have the time to do it, then go for it! If digital allows you to proceed with your photography when you have the chance in your busy life (and all of our lives seem busier than we would like them to be) then digital may be the answer. I'm simply saying that if you aspire to be an Adams or a Weston, don't expect digital convenience to get you there.

The greatest failures I have found from those employing digital approaches are two-fold. First there is a difference in the way traditional and digital photographers photograph. To put it semi-facetiously (but with a great deal of truth to it), traditional photographers look and then shoot; digital photographers shoot and then look (at the LCD screen on the back of the camera, of course). My observations at workshops show remarkably little careful seeing among digital practitioners prior to snapping the shutter release.

Second is the over-reliance on Lightroom or Photoshop or other applications to make everything right in the end. While my years of workshop instruction have shown me that most students attending any workshop feel that they already have "a good eye" (though very few actually do, initially) the problem seems magnified among digital users who simply want to learn Photoshop. (NOTE: a nascent "good eye" is one that understand light and compositional elements, not one that can recognize a pretty landscape. Everyone can recognize a pretty landscape. "A good eye" can be nurtured and improved, but it rarely takes place without both good instruction and a willingness and desire to learn and to work at it. With extremely rare exceptions, the "eye" improves with learning and practice, and with guidance from good instructors.)

Photoshop is a digital darkroom, nothing more, nothing less. If you feed in digital exposures that have poor lighting, or is poorly seen or poorly composed, Photoshop cannot turn a sow's ear into a silk purse (nor can a traditional darkroom do it with a poorly seen negative). Yet students who approach photography digitally seem to universally ignore the idea of learning about light, about composition, about the relationship of forms in both black-and-white and color, and even fail to understand their own emotional relationship to the subject matter they have chosen. While they are determined to become experts in Photoshop, they seem oblivious, and indeed hostile to the absolute need to understand the fundamentals of light, compositional relationships, and their relationship to their chosen subject matter. What results is inevitably: "Garbage in; garbage out."

Photographic artistry cannot result solely from a complete mastery of Lightroom and Photoshop as tools; it must begin well before that. Photoshop, like the traditional darkroom, is the second part of a process that begins with seeing, understanding, insight and creativity. Those who wish to be great digital photographers still need the ability to see and to compose with the likes of Ansel Adams, the Westons, and all of the other great artists of photographic history. Whether you choose digital or traditional methods for the output of your final result, a grounding in seeing, in composing, in a full understanding of light, in extrapolating from what you see to what you want to convey to others, are the foundations of good photography. That cannot be overcome by mastery of Photoshop alone, any more than one can be a great photographer by confining one's expertise to traditional darkroom techniques. Such expertise (with traditional or digital darkroom methods) will make you a great craftsman, a great technician, but not a great artist. If you don't understand the necessities of those initial requirements to great photography, you'll never be a great photographer (though you can surely be a great technical expert in either the traditional or digital darkroom).

The student who seeks photographic artistry must be as determined to learn the art of seeing, of understanding, and of creating, as much as he/she demands to learn Photoshop or darkroom approaches. My own workshop program stresses those fundamentals, making the workshops as valuable to the digital photographer as to the traditional photographer. Every student must pay equal attention to all the necessities in the field - and to your own mindset while working in the field - as you do to the digital or traditional darkroom aspects of the art. Ignoring either one inevitably results in failure.

I also hear a great deal from digital enthusiasts about the ability to produce 50, 100, or any number of virtually identical prints from the "digitally perfected negative." This is true, but this confuses the issue of creating art with the issue of mass production. Producing photographic art revolves around a number of factors that are common to all approaches: understanding of light; an appreciation of the relationship of lines, forms, balance and imbalance; fluency in the visual language of color and contrast; a rapport with - or understanding of - the subject matter; and an understanding of what you want to say to others about your chosen subject matter. Digital methods surely outpace traditional methods for mass production, but offer no new insights for the artistry required to get to the stage of personal expression...and beyond that to mass production. (Let me also point out that mass production has no place in real art.) For those with artistic insight, digital methods offer powerful, new and unique methods of image manipulation - and these should be fully exploited, as they are by the best practitioners. But insight, feeling, artistry, and expressive communication are the important issues. Mass production is a minor and tangential afterthought. Always keep this in mind: it's the insight into the singular artistic expression, not the fact that you can produce any number of them, that is the artistic fulfillment of the idea discovered in the field behind the camera, or conceived of in your mind, to be pursued later in the field and darkroom (traditional or digital).

Strangely, refining artistic seeing and feeling is where the abuse of digital methods may prove to be most detrimental. Digital methods, per se, are not the problem, rather the pervasive misuse of digital methodology by its practitioners is the problem. It occurs when digital practitioners overlook initial problems with the idea that those problems can be corrected later in Photoshop. Some simple problems - the unwanted power pole or the speck of dust in the sky - can indeed, be easily removed. If the power pole is recognized as a problem, it can, indeed be removed digitally in a way that's clearly better than any procedure allowed with traditional photography. But as problems multiply, later correction becomes exponentially more difficult. I have seen too many cases in which the initial simple problem (the power pole, for example) has expanded to so many unseen problems that the situation becomes unmanageable.

Digital users would be wise to guard against such proliferation of problems. "Defects" in the scene should be fully understood and recognized from the start, with a clear path in mind toward the appropriate corrections needed to make the scene what you, the artist, want to convey...even if it's an alteration of reality. That's fine, but be aware of it from the start. But also be aware of the most critically important fact: you can't really change the lighting or your "feel" of the subject matter through Photoshop. It's best to start any endeavor - artistic, scientific, business, etc. - properly, rather than waiting for subsequent fixes to correct the initial problems. To do otherwise is "digital abuse": acceptance of initial sloppiness with the thought that it will be corrected later. It is a syndrome that has few parallels in traditional methodology simply because the opportunities for later correction are more limited. Pervasive overexpectations of digital technology has spawned it. People caught in digital abuse often forget to see light as it is, or often count on Photoshop to do more than it can do to remove unwanted objects, create non-existent, but desired objects, and even change poor lighting into desired lighting. Photoshop is a very powerful tool, but like any other tool, it must be used wisely and used within its limitations. Poor initial seeing will not be corrected by Photoshop, no matter how powerful a tool it is.
Traditional/Digital: How I Divide My Work
I now do all my black and white work traditionally; I do all of my color work digitally. I am quite content with that dualism. I feel that color digital methods surpassed traditional methods years ago, but I do not feel that to be the case with black and white. So as long as I'm strong enough to carry the heavier large format camera gear, and as long as I continue enjoying the darkroom work as much as I do, I'll continue doing my black and white in the traditional process. Nothing has the radiance of a finely crafted silver print. Nothing. Even after 20+ years of improved digital technology, the traditional silver print is still the epitome of b&w photographic excellence. And I'll continue to be happy that I've switched to digital for my color work. And I'll continue to fret that there's nothing in the set of traditional tools that matches the clone stamp tool in Photoshop.

For more than half of my photographic career I printed b&w images-mostly from 4x5" large format negatives-on "graded" papers; but that all changed some time ago when high quality variable contrast papers were introduced. With that seminal improvement, I have been able to print negatives that previously were impossible to print, and make better prints of those that were printable in the past. I can print each part of an image at different contrast levels and merge them smoothly with the advent of these outstanding papers, and I have been able to print images that I was unable to print satisfactorily years ago. I can mask easily, and do it whenever desirable. It's a simple process, and a valuable tool in the darkroom kit. I can bleach images area by area to impart a shimmering quality to the image, a look that is virtually impossible to achieve digitally. Make no mistake about it, the traditional darkroom is a very potent tool, and it is not static; it is improving constantly as products improve. Currently I am printing on the finest paper black and white paper I have ever used, Fomabrom V111, made in the Czech Republic.

I now do a lot of digital work, which offers wonderful opportunities. With my digital camera I can make exposures quickly without the slow, cumbersome need to first set up a tripod and dig for my camera and appropriate lens. I carry less than 1/20 the weight of my 4x5 camera and lenses (more if I carried a larger DSLR and several lenses, but still far less than my large format film camera). I can shoot hand-held, even out of airplane windows, allowing me to photograph digitally where I simply cannot using traditional equipment.

Digital photography offers great tools, to be sure, but it also comes with problems. Cost is one, not just the initial costs, but the subsequent costs. Initially the cost of digital - the scanner, computer, monitor, printer, and software applications - is comparable to traditional: enlarger, lens, sink and plumbing, timer, easel, trays, safelights, etc. But digital requires constant updating and upgrading. Nothing obsoletes itself as swiftly and thoroughly as computer equipment and applications. As a result, you must pay out your initial costs again every few years just to stay current and keep working.

Some digital enthusiasts argue that you need not pay continued costs if you buy smart at the start and stay within those bounds. However, if any one component of your system breaks down, it may not be either repairable or replaceable with anything that the rest of your system recognizes after several years. Or, any replacement may have a series of hidden incompatibilities with the rest of your system. Thus a chain reaction starts: the inevitable breakdown of one component may necessitate the complete overhaul of the entire system. There is even the possibility that your saved files may be incompatible with the new system (and this gets progressively more likely the longer you stay within any outdated system), so you may lose access to your older, prized images, or they may be convertible to your new system at very high cost. And this says nothing about the anguish you endure caused by the possible loss of prized images from the past.

Future access represents a greater problem. Digital memory is constantly changing and improving. A tiny flash drive today holds vastly more data that whole mainframe computers decades ago. Memory was once put on "floppy discs." Then on hard disks, then zip drives, then CDs, then DVDs, then giant terabyte back-up drives, now "the cloud" and in the future quantum memory. The question then arises: do you have access to your old files? Can you go back and access imagery you made years ago or decades ago? This is a pertinent question because I have discovered many excellent photographs in negatives made decades ago that I either didn't recognize at the time or I printed them improperly (and then gave up on them), or that I failed to crop to the proportions or size that I now see. But I have immediate access to those old negatives, I can put them into my enlarger, and I can print them now as if they were just exposed and developed.

That may not be true in the digital world. Just as it may be nearly impossible to access information today from earlier forms of memory, in the future it may be difficult or impossible to access today's memory unless you constantly update everything. That's a problem. Furthermore, how long will digital files last? For example, one of my back-up memory drives began failing within two years of installation. Fortunately, I was able to transfer the remaining files quickly to another back-up, and the corrupted files were still on my laptop, so I lost nothing, but that was pure luck. Digital files can corrupt, whereas negatives last forever (or nearly so) unless physically damaged.

So there is good and bad (shall we say) in both traditional and digital processes. Above all, you have to enjoy the process as much as the product. I greatly enjoy the traditional process, both in the field and in the darkroom. I have come to enjoy doing digital work, as well. However, I must admit that I feel I'm more "in control" with the traditional process than with the digital. I'm working with the materials, not just the camera and keyboard, and I find that more fulfilling. But I've also learned a lot of digital processes over the years, and I enjoy employing them to obtain the results I want. I'm surely not an expert in digital processes (as some may say I am in traditional processes), but I know a reasonable amount, and I enjoy using it for my final imagery.

A final thought should be noted here: the work of Ansel Adams, the Westons, Imogene Cunningham, Joseph Sudek, and all the other past and present greats is still great, and always will be. Digital has not made their images irrelevant. Beyond that, none of their finest images could be enhanced via digital methods. How would Photoshop improve Adams' "Moonrise, Hernandez, 1941" or Brett Weston's "Holland Canal" or Edward Weston's "Pepper #30?" It can't because those images were so well seen and so deeply felt. Currently produced traditional work is equally relevant. Today, traditional film photography can be correctly viewed as an "alternative approach" (much like platinum/palladium, cyanotypes, or other infrequently used procedures), but none of that negates the power of traditional methods.

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Let me start by saying that after nearly 50 years of film photography - primarily large format 4x5 - I have been shooting digital imagery for the past ten years, and I've been processing digital imagery for three of my books: "Art of Photography" "Plateaus and Canyons"and "Essence of Photo

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Works | Bill Claps | Laurent Marthaler Contemporary

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Alan Schaller: Streets in Mind - SmugMug Films

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Contemporary artist Hiroshi Senju discusses his work at his studio in upstate New York

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I initially took up photography for one simple reason - I couldn't draw. My 16-year-old self reasoned that photography must be pretty easy. Just point the camera and shoot, right? But as I worked away in the high school darkroom, I realized how powerful the camera is for artistic output. And as I built up my own photographic practice, I got to see another side of photography too, its therapeutic qualities.

It tasks photographers with the opportunity to truly see an environment, making the most out of any situation. Photography requires adaptability and focus, driving photographers to chase that elusive perfect shot. This is why many people find photography so effective for cultivating good mental health.

Mental health is a vast topic. It plucks external experiences and mashes them with physiology indiscriminately. Personally, I feel like photography isn't just about cameras and photos, but consistency. Something I can fall back on when times get tough. Often I find that photography can be the difference between a good or a bad day - that's pretty powerful stuff.

Here are a few ways that I've found photography to be beneficial for my own mental wellness.

Motivation

From the earliest stages of photographic study, the camera trains the eye to seek out detail and opportunity. Whether you notice it or not, chances are you'll quickly begin to see the world through the perimeter of the viewfinder - camera in hand or not. A photographer's process is often cyclical - seeking out subjects will drive you to document them photographically. And to photograph those subjects adequately, you'll need a discerning eye. One feeds the other and motivation fuels both.

But the relationship between photography and motivation can be tenuous. Sticking with photography in better times creates a sense of stability in harder periods. Chasing the elusive "perfect shot" and the afterglow of a photo session slowly starts to become a necessity - instilling resilience.

We photographers are lucky in that we have a self-contained tool to reach out to. Photography opens an inexhaustible amount of doors, providing opportunities to explore, travel, experiment and grow experience. It also helps form relationships with different places and subjects, leading to tangible locations that are a haven for low days. A valuable self-care technique.

People on the outside may not understand a photographer's inner workings or mental well being, but even the smallest of accomplishment spills over to a new day, easing the complex difficulties experienced in a low. Photography has many benefits and it all comes down to taking a camera in your hands.

Mindfulness

Mindfulness can be an important fixture in mental health. Usually, you'd think of yoga or meditation when discussing it. But it's no different for photographers.

This is a time to take stock of your mental landscape. It encourages a state of attentiveness to your surroundings and your own thinking. Whenever you bring awareness to your own senses, you are being deliberately mindful. It's almost like hitting a reset button for a moment, taking a breath, and paying attention to your sensory experience.

Mindfulness has been found to reduce stress and rumination, working memory, focus, and self-insight.

Photography isn't just like mindfulness, it is mindfulness. Photography requires a deep focus on all of the body's sensory input to seek out photographic subjects. It prioritizes the actions involved in photography first - avoiding some sort of sensory overload.

This deep sense of a photographer's surroundings transforms a moment into a carefully considered image, even in a split second And it all comes together to form one fluid moment, with each click of the shutter activated with purpose and reason. As Don McCullin, documentary and war photographer said,

"Photography for me is not looking, it's feeling. If you can't feel what you are looking at, then you're never going to get others to feel anything when they look at your pictures".

Perspective

From it's earliest incarnations, photography has shaped our understanding of the world. Eadweard Muybridge is known for his photography of the Mid West. But he shifted his focus to a more scientific endeavor when Leland Stanford, a race-horse owner asked that he could study the dynamics of a horse's gallop.

Muybridge had been tasked with breaking down what the eye could not. Up until Muybridge's efforts, most artists painted horses at a trot with one foot always on the ground. But Myubridge's use of photography revealed the horse's gait was performed with all the feet in the air over the course of each stride. His method was one of the early uses of perspective in photography, revealing the scientific potential of the camera.

Photographers make use of both mental and physical perspective to re-imagine the world. Sometimes a new perspective is physical, or it reflects the inner machinations of a photographer's process. Inspiration can hit at any time - that's why I try to keep a camera with me as much as possible.

Thinking, planning, investigating, scouring. Photographers make use of personal experience to convey a new way of digesting a scene, both deliberately and on purpose. The result is an unusual insight into a subject. This genuine approach can reveal a greater faith in your own photography. But it also encourages relationships between a viewer and the photographer.

This contentedness cultivates awareness, thoughtfulness, and insight. This sharing of ideas is also cathartic and mentally beneficial - a problem shared is a problem halved.

Conclusion

Artists have always translated art from the mental manifestations of the artist. Photography cultivates thought, inspiration, awareness, and focus. Your photography reflects your own experience - creating new perspectives and connections with people. Art can flip perspective upside -down.

Buy honing in on your own experiences, you can cultivate a mindfulness in your practice that flows into the heights of creativity and eases some of the burdens of mental lows.

Megan Kennedy is a photographer and writer based in Canberra, Australia. A lifelong fascination with flight has inspired her photographic practice in documenting the intricate form of aircraft. Megan is also interested in travel photography and documenting human interaction with the modern landscape, through both intentional and incidental intervention. She is well versed in both digital and film practice. Both her writing and photography has been featured in numerous publications.

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Why Photography is Beneficial for Your Mental Wellness

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I initially took up photography for one simple reason - I couldn't draw. My 16-year-old self reasoned that photography must be pretty easy. Just point the camera and shoot, right? But as I worked away in the high school darkroom, I realized how powerful the camera is for artistic output.

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Are You Expressing Your Creativity or Just Pressing Buttons? | Adam Marelli

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Do you feel like there is creativity hiding inside of you, but are not sure where to find it? There are endless tutorials on taking pictures, but how do you figure out what to shoot in the first place? In order to develop a unique point of view, we have to understand how creativity works.