Richard M. Coda fine-art photography

Portraits of my Father

2012-01-06T19:12:00.000-08:00

Easter Sunday, 1960, 8 St. Mary's Road, Cromer, Norfolk, England

There was a book published last year by Lodima Press on Brett Weston's 1977 portfolio titled "Portraits of my Father". This portfolio and book contained 10 photographs of Brett's father, Edward Weston, one of the icons of 20th Century photography (as is Brett).

It has been one year since my father passed and I have started thinking again of going through all the old negatives and prints that have been handed down to me. Originally I wanted to do a portfolio/book of images that my father had "taken", especially those from England, where he was stationed in the United States Air Force during the Korean War, and where I was born.

As I started going through all of this material I found photographs "of" my father. I love "period" imagery (and films). I was trying to tell my daughter the other night that "period" used to mean anything before the early to mid 20th Century. Today it means the 1960s or 1970s. Anyway, these images I found had a certain charm to them. Drugstore negatives and prints from a 120/220 film camera. Some dimple cut. All of Kodak film and paper (Kodak is about to disappear as we know it very soon). All have creases and cracks. There's even some that my father made on 4x5" film. Once I saw these images I decided to change my idea to encompass both the images of him and those by him.

These four images are the first that I have scanned towards this project, tentatively titled "Through my Father's Eyes: Photographs of and by Richard J. Coda Jr." I still have to research many of these for accurate dates and locations.

Location and Date Unknown

July 31, 1960, Cromer Beach, Norfolk, England
A father for 42 days

My Weekend with Marilyn...

2012-01-05T18:56:00.000-08:00

TruckMasters (Marilyn Monroe), Phoenix AZ, 2009 © Richard M. Coda

OK, there's a new movie out immortalizing Marilyn Monroe. Did you know that Marilyn Monroe is immortalized right here in Phoenix, AZ?

For those of you who don't get out much, there is a huge mural painted on the side of the TruckMasters building at 20th St. and Indian School Rd. in Phoenix. It was painted by Timothy Medina in 2002. The mural is more than 30 feet long and is almost super-realist in style.

I photographed it early one Sunday morning in 2009 in black & white with my 8x10" camera. I deliberately chose Sunday so there would be no vehicles parked in front of it. Although I do tire quickly of Marilyn Monroe, I never tire looking at this beautiful contact print.

2012: Out with the new and in with the old?

2012-01-01T09:38:00.001-08:00

Happy New Year!

Cascade Mountain, Alberta, Canada, 1990 © Richard M. Coda

I'm thinking 2012 will be a breakthrough year for me, photographically. The past three years have been tough on everyone, and especially artists. Many of my photography friends have experienced reduced output and enthusiasm, myself included. The causes are multiple: disappearance of materials, reduced income, dissatisfaction with leadership, etc.

2012 brings with it an opportunity for hope and change (not that dopey hope and change from 2008). Business seems to have rebounded and things are going to change in my life this year. Our daughter, Lindsay, will be going away to college in August. As parents, Michele and I have devoted our lives to our daughter, sacrificing so she could "have better than we had". There are still four years of financial sacrifice ahead, but the amount of time that will be gained is amazing. In 2012 I hope to attempt to use some of that time to "get back into photography". I can't tell you how many times I have heard a photographer utter those words. For some reason photography is one of those avocations that is shuffled aside to take care of life.

Another "back to the future" hope is to do more landscapes this year. I have mentioned several times on this blog about my yearning to do landscapes again as I have gotten older. The desert landscape is too sparse for me personally, but I hope to have the time to do some landscapes with trees and water in them. In addition, I have 30 years worth of negatives, many of which have never seen the light of day, and many of them these types of landscapes that I yearn.

One project that I would like to do this year is my "Honeymoon Suite" portfolio. This is a portfolio of 8x10" images made from 4x5" negatives I made while on my honeymoon in 1990 in British Columbia and Alberta, Canada. I have only printed a few of the images way back in 1991, but have enough that I am going to select 10 and print a limited edition portfolio. The image above, Cascade Mountain, is one I have selected. I printed this for the first time a few days ago. It still needs some tweaks but I am excited to work on this project.

Other projects I hope to start this year include several botanical series from items I have been collecting for the past couple of years; two portfolios on Phoenix (one black & white and one color) along with a book from my extensive work in the city from the past three years; and a small portfolio from my work on Ellis Island in 1984.

As this is my 30th year in photography I also plan on having a 30% discount on all sales this entire year, and a special selection of vintage prints from the 1980s at fire sale prices. I will also be marketing a series of "Special Edition" prints from selected negatives for $30 plus S/H. Ansel Adams made the "special edition" print popular by offering some of his most popular images available for a very reasonable price. Today these prints are made by his last assistant, Alan Ross. My special editions will be pigmented ink prints available in only one size (7" on the long side) on 8.5x11" paper, open edition, and signed electronically. These are basically mini-posters meant to introduce my work to a broader market of beginning collectors. The purchase price of these prints can be applied toward a "Collector's Edition" photographic (darkroom) print at any point if the purchaser wishes to upgrade to a real print.

So stay tuned in 2012 for all of these announcements.

I wish you all a healthy and prosperous New Year!

Merry Christmas!

2011-12-22T16:52:00.000-08:00

Merry Christmas from the Codas – Rich, Michele and Lindsay!

Click on the image for an animated version.

Inspirations #29: Henry Gilpin, 1922-2011

2011-12-15T19:23:00.000-08:00

Highway 1, 1963 © Henry Gilpin

Henry Gilpin is a familiar name on the Monterey Peninsula in California. He was an educator, a photographer, a citizen, but most of all, a gentleman.

He was a contemporary of Ansel Adams, Brett Weston and Morley Baer, all of the "West Coast School" of photography, made popular by Edward Weston, Ansel Adams and others years earlier. He took his duty as a citizen so seriously that he joined the Monterey County Sherrif's Department in 1952. He taught photography at Monterey Peninsula Community College for 37 years. It is hard to put a number on the photographers that he has taught or influenced. He definitely influenced me.

I remember my first trip to the Peninsula in 1984... a journey to walk in the footsteps of the masters who had preceded me. Henry's most famous image (above) was one of the images that made me want, excuse me, NEED, to visit this beautiful place to see if I could make photographs worthy of it. My first attempt was "Sea Lion Cove" that year. One thing I see now, looking back at that first trip, was how overwhelming it is "your first time". Your senses are bombarded by the beauty of nature at every turn. I think I exposed just over 80 4x5" negatives in just 4 days.

Sea Lion Cove, Pt. Lobos, CA, 1984 © Richard M. Coda

If you have ever been on Highway 1 in Big Sur or just south of San Francisco, you know that every turn can "kill you". The road, built in the 1920s-30s, hugs the coast and has wicked hairpin turns, often just inches from a 300 foot fall to your death. The first time I took my wife on the road (1989) from San Francisco to Carmel, she almost became ill.

My next trip in 1986 produced this image, an 8x10" negative.

Garrapata, CA, 1986 © Richard M. Coda

On a trip in 1987 I made the image below. You can see Highway 1 in the top left of the frame.

Big Sur Coast, CA, 1987 © Richard M. Coda

The photographic community is saddened at the news of Henry's passing on December 13, but he leaves behind a legacy of photographs to inspire future generations of photographers. I am very proud to have Henry's "Highway 1" hanging in my living room. It is an image I will always treasure.

Eclipse... 1982 style

2011-12-13T17:21:00.000-08:00

Total Lunar Eclipse, July 6, 1982, Pompton Lakes, NJ © Richard M. Coda

July 6, 1982 to be exact. That could only mean Tri-X on the 4x5.

I had no idea what I was doing or how to properly meter and expose the moon. So I just set up my 4x5" camera in my parents driveway and left the shutter open with the lens cap on. I removed the cap every 10 minutes and I honestly cannot remember how long I left the cap off. Judging from the negative and flare I would say I over-exposed it by at least a stop, maybe two.

Anyway, I missed the eclipse just a few days ago... it occurred in the early morning and I needed some sleep. Hopefully I will be ready for one of the next eclipses visible in North America during my lifetime.

One of these days I am going to photograph the Milky Way on my 8x10" camera... the night skies in my backyard are incredible.

Third Place - 2011 Black Mountain Photography Contest

2011-12-08T11:47:00.000-08:00

Sunset and Thunderstorm over Black Mountain, Scottsdale, AZ © Richard M. Coda

I am very pleased to announce that one of my photographs was awarded Third Place in the 2011 Black Mountain Photography Contest sponsored by the Desert Foothills Land Trust here in Arizona.

Black Mountain is the signature peak in the far north Valley, situated in Cave Creek, AZ.

To celebrate this award I am offering pigmented ink prints on Epson Ultra Premium Glossy paper for $30.00, shipped via USPS Priority Mail (USA only). The prints are on 8.5x11" paper and the image is 10" wide. The prints are signed by me and are an open edition (not numbered).

To order a print, please click on the button below, where you may pay securely via PayPal account or your credit card.

Inspirations #28: Bill Fuller - Urban Architecture

2011-12-01T09:28:00.000-08:00

Chicago Athletic Association, 1981 © William W. Fuller

As I have mentioned in the past, I used to photograph landscapes when I started in photography. Over the years I have been drawn to more urban subjects, especially abstracting modern architecture.

San Francisco, CA, 1987 © William W. Fuller

I recently met and befriended Bill Fuller through INFOCUS at the Phoenix Art Museum. Bill is a very interesting guy, a well-educated and self-taught photographer who has several large bodies of work, including "The City - A Formalist View of American Urban Architecture". I first became aware of his work a few years ago when I saw it in Lenswork and B&W Magazine. I loved the way to brought order to chaos in the city by reducing the scene to basic components of shape, line and tone. I noticed a similarity in the way we both photographed urban architecture, but also some significant differences.

Seattle, Washington, 2008 © William W. Fuller

Bill generally shoots from a distance and his subjects are very large. Although there are angles in his work he prefers straight on and he rarely includes the street or street view.

First Presbyterian Church of Phoenix, AZ, 2011 © Richard M. Coda

I, on the other hand, prefer to get in closer and almost always include a diagonal line in the composition. I often include reflections as the main focal point, as well. My subjects are smaller and a fair amount of the time I include the street or street view. See this blog post for some 2008 images from Phoenix.

But there are times when we have a very similar approach to our images.

Embarcadero, San Francisco, 2000 © William W. Fuller (left);
Phoenix Skyscrapers, AZ, 2011 © Richard M. Coda (right)

Tempe, AZ, 2008 © William W. Fuller (left);
14850, Scottsdale, AZ, 2008 © Richard M. Coda (right)

Long Beach, CA, 1999 © William W. Fuller (left);
Arizona State University, Phoenix, AZ, 2011 © Richard M. Coda (right)

Yerba Buena Center, San Francisco, CA, 2003 © William W. Fuller (left);
Downtown, Phoenix, AZ, 2008 © Richard M. Coda (right)

Chicago, IL, 1987 © William W. Fuller (left);
Chrysler Building, NY, 2005 © Richard M. Coda (right)

All of my images made before 2011 are purely coincidence, or an instance of great minds thinking alike. My images from 2011 were inspired by Bill.

I recently designed a website for Bill at www.williamwfuller.com. Please visit it to see his wonderful body of images.

I have been selected as a finalist in the Black Mtn. Photography Contest!

2011-11-01T20:46:00.000-07:00

Today I received notice that I am one of the thirteen finalists in the 2011 Black Mountain Photography Contest. Black Mountain is the signature mountain at the far north end of Valley in Cave Creek, AZ.

Each of the thirteen finalists will be published in the annual Black Mountain Calendar. There are prizes for 1st, 2nd and 3rd place, but also a "People's Choice" award that can be voted on in person at either the Cave Creek Museum or the Desert Foothills Library, or online via Facebook. The winner of the People's Choice will get the calendar cover.

Please vote for my image by clicking here.

You should never mix brown and blue...

2011-10-30T19:15:00.000-07:00

Plywood, Miami, AZ, 2009 by Richard M. Coda

What? Who made that rule? Tim Gunn?

For as long as I can remember they (who is "they" anyway?) always said never mix brown and blue. I think they were talking about suits... don't wear a brown tie with a blue suit. Well, I was never one to follow what the fashion police said... but I think in this case they are wrong. I do know brown and yellow go together from listening to Rodney Dangerfield... "I told my dentist my teeth are going yellow. He told me to wear a brown neck tie."

Anyway, here are a few photographs where brown and blue are the two main colors... and they work very well together.

Rusted Garage Door, Superior, AZ, 2009 by Richard M. Coda

Pt. Lobos, CA 2007 by Richard M. Coda

As I am color blind (red-green) I have never believed anything anyone has ever told me about color... I can only tell you what I see. All photographed on 4x5" Fuji Velvia 100 film. Thanks to the famous Larry Golsh for egging me on to take the Superior and Miami images...

Photograph Accepted to Arizona Valentine Exhibit at Phoenix Sky Harbor Airport Museum

2011-09-25T09:48:00.000-07:00

Central Avenue looking North, Phoenix, AZ, 2008 © Richard M. Coda

I'm an Arizona Valentine!

This image was recently selected as one of sixty artworks (out of 572) to be included in the "Arizona Valentine" exhibit to be held at the Phoenix Sky Harbor Art Museum, Terminal 3, Level 2 from November 12, 2011 through June 17, 2012. I am not sure if there will be an opening reception, but as soon as I find out I will post that information.

This image is from an 8x10" negative. I have contact printed it as well as had a 40x32" pigment ink print made of it. The silver gelatin contact print will be on exhibit at the Airport Museum.

10 Years Gone...

2011-09-09T20:20:00.000-07:00

September 11 World Trade Center Memorial, Freehold, NJ, Nov. 9, 2002

Then as it was, then again it will be
An' though the course may change sometimes
Rivers always reach the sea
Flyin' skys of fortune, each have separate ways
On the wings of maybe, downy birds of prey
Kind of makes me feel sometimes, didn't have to go
But as the eagle leaves the nest, it's got so far to go

From one of my favorite Led Zeppelin songs, "Ten Years Gone".

It is hard to believe that it was 10 years ago that America was attacked. I remember that day as if it were yesterday. I remember my little girl had just turned 7... this week she just turned 17. She's a senior in high school now with college next year. A beautiful young lady, with amazing talent and compassion. A lot has happened in these 10 years, but a lot has not changed either. I won't get into politics here, but there is a lot still to be done.

I was going through some old photograph files and came across these. I had almost forgotten I had taken them. On November 9, 2002 we had gone to the Freehold, NJ September 11th Memorial. It is a beautiful monument. Scale replicas of the Trade Center towers made of granite. I remember it being odd that there was no one else there, even only 14 months after the attacks.

I also remember making some photographs on one of our frequent trips into New York with my college roommate, Steve Alex. These are from 35mm black and white film.

I wish we could all go back to September 10, 2001, but as we all know, that is not possible. So we must push onward, trying to make the world a safer, better place for our children, if that is even possible anymore.

Primordial: 2010 has been nominated for a People's Choice Award

2011-08-16T15:47:00.000-07:00

I am very excited to have had my book, Primordial: 2010 - Photographs of the Arizona Monsoon, nominated for a People’s Choice Award in the Photography Book Now (PBN) International Book Competition on blurb.com.

Please take a peek at my book and vote for it as many times as you are allowed. And tell all your friends, too! To vote, click here http://www.blurb.com/bookstore/detail/1746882?ce=blurb_ew&utm_source=widget

In addition to the blurb version, there are still 12 signed/numbered limited edition books available, each with a signed, limited edition print of the cover image. Click on the image or the first link for information on how to order.

Inspirations #27: Rocks

2011-03-12T11:16:00.000-08:00

Earlier in my photographic journey I lived for landscapes, often traveling very far to get what I thought I was after. Living in NJ for all of my life (at that point) I was always searching for a wider view, which is very hard to get in the Garden State, except at the beach. Starting in 1983 I took my vacation every year in California, the epicenter of great landscape photography.

During my 1987 trip I had read about the Pinnacles National Monument. It had been described as a "mini Yosemite" where you could sometimes have the park almost to yourself. The park is actually half of the park... the other half is 195 miles to the southeast. The San Andreas fault had split the park some 223 million years ago and ever since it has migrated northwest to its present location. So, I made the trip one day and was not disappointed. The day I was there I exposed maybe two dozen sheets of film, and most came out pretty well. I think I crossed paths with 10 souls that day... nothing like the droves of people at Yosemite.

The park is very hikable, and even if you want to go vertical it's not that bad - unless you're carrying 40 pounds of gear with you! But I was 27 and in good shape so I couldn't complain. This image was made about half way up my hike to the summit.

Pinnacles National Monument, CA, 1987 by Richard M. Coda

Wonderland of Rocks, 1937 by Edward Weston

Moon and Half Dome, 1960 by Ansel Adams

Imageworks show at ASU Central Library

2011-02-06T09:41:00.000-08:00

Imageworks had its first opening reception for the Large Format show at the Central Library Vault Gallery at ASU on Friday, Jan. 21. 2011. The opening was well attended and the work is top notch. Photographs ranged from 4x5" contact prints to 11x14" contact prints to to 48x60" face mounted color prints.

Three 48x60" color images by Juan Garcia

32x40" pigmented ink prints by Richard M. Coda

The Vault Gallery is a very large space and can accommodate a large number of prints. The members of Imageworks are a varied group and many decided to do "something different" for this show, which emphasizes work created with large format cameras. Juan Garcia and I decided to make prints much larger than we are accustomed to and we were both pleased with the results.

Below are some random snapshots of the opening reception. There are two more receptions scheduled for Friday, Feb. 18 and Friday, March 18, both from 6 to 9 PM. If you are in the area and enjoy good photography, please come and visit the show.

And one final shot that I have to go back for with the 4x5 in color...

Richard J. Coda, Jr. - 1932-2011

2011-01-08T21:09:00.000-08:00

My father passed away on January 7, 2011 at the age of 78. There are many memories, both good and not so good, as there are with all families. My best memories of my father usually revolved around fishing. It was our favorite pastime, but it also helped lead to my love of photography.

My father was a printer by trade, but also an amateur photographer. I remember going to his print shop on the weekends where I would be paid 5 cents for every phone call I answered. I always loved going down to the darkroom. The smell of fixer… watching an image come up on either litho film or as a print. And the day always ended with a nice lunch and either watching him shoot pool at the pool hall down the street (on Main Street in Passaic, NJ) or playing pinochle at Hogan's bar across the street. In these days of political correctness and how you should raise your children this would be frowned upon, but I think it just showed me another slice of life, neither right nor wrong… just different.

After we moved from Orange, NJ to the country (a.k.a. Pompton Lakes, NJ) in 1971 fishing became a big part of our lives. We lived across the street from the lake (where I am writing this from right now) where I could fish in the morning before school, after school, and later at night, without having to travel very far. Spring, Summer and Fall trips to Thousand Islands, Ontario, Canada were very exciting to a young boy, as well. Being outdoors for this activity had a profound influence on how I viewed the world around me. I loved being outdoors. Photography became a way to capture and preserve my times outside.

My father also introduced me to large format photography, lending me his Air Force issued Speed Graphic while in college. This led to my quest for photographic excellence, which, in my humble opinion, is best achieved with a big negative.

As I got older I needed to be more independent. This meant less time fishing, and being with my Dad, and more time for myself, and photographing. I guess this is the natural progression of things and shouldn't be analyzed too much. As a parent myself now, I can't imagine a life without my daughter, but I know the day will come, and I know how much it will hurt. But I have to let it happen. I hope that I did not hurt my father too much, but it was something I needed to do.

Anyway, I just wanted to say "Thanks, Dad, for the times we had. And thanks for letting me find my own way. I love you always, and I will miss you."

LAST DAY! $10 OFF Primordial: 2010

2010-12-30T20:13:00.000-08:00

$10 OFF Primordial through Dec. 31, 2010. Use the promo code CHEER at checkout.

http://www.blurb.com/bookstore/detail/1746882
hardcover price after discount: $64.95

http://www.blurb.com/bookstore/detail/1746893
softcover price after discount: $46.95

Also the last day to order a signed/numbered limited edition with print copy at the pre-publication price of $325. Price increases to $425 on January 1, 2011.

Sign, Sign, Everywhere a Sign…

2010-12-28T18:39:00.001-08:00

Blocking out the scenery breaking my mind

Do this, don't do that, can't you read the sign
– Five Man Electrical Band

I went out photographing with friends John Prouty and Juan Garcia early Sunday morning on October 31. I had a few places I wanted to photograph before they disappear, as things tend to do after I photograph them.

We started out on McDowell Rd. just west of Rt. 51. I had been wanting to photograph this sign for some time as we are bombarded by "Gold" commercials on TV these days.

After I made the exposure on my 4x5 I looked a few feet away and saw this chain link fence with lock and chain.

After these two I drove down the road a block or two and got this image I had also been wanting to photograph. Three images in 30 minutes… not bad.

A few more blocks west was this building that John had been wanting to photograph. John used his 8x10 while I used my 4x5.

After that we went downtown and found a few more things before calling it a day.

This was the first day out photographing after a long hot summer and it felt good to just get out and have some fun. Coming soon, some 4x5 images made at City Center in Las Vegas over Thanksgiving week.

Merry Christmas!

2010-12-24T19:34:00.000-08:00

Merry Christmas from the Codas – Rich, Michele and Lindsay!

Click on the image for an animated version.

Photograph by Lindsay Coda (c) 2009

$10 OFF Primordial: 2010 through Dec. 31, 2010

2010-12-22T08:50:00.000-08:00

$10 OFF Primordial through Dec. 31, 2010. I just received an email from blurb.com with this discount. Use the promo code CHEER at checkout.

http://www.blurb.com/bookstore/detail/1746882
hardcover price after discount: $64.95

http://www.blurb.com/bookstore/detail/1746893
softcover price after discount: $46.95

Conscientious | Nothing New Under the Sun?

2010-12-21T12:44:00.000-08:00

Conscientious | Nothing New Under the Sun?

Joerg Colberg over at Conscientious has hit it on the head... current contemporary photography is all the same and has all been done before. I don't know what they are teaching these kids in college but if I see one more series of "deadpan" portraits of teenagers or generation-X, Y or Z, taxidermied animals in unnatural or unrealistic settings, out of focus miniature figures, or HDR/InfiniteDOF, I think I will lose my lunch.

At this point photography is essentially dead. And with Kodak increasingly putting more nails in our coffins (film photographers) I may just give it up and try painting or pastels.

Primordial: 2010 – Photographs of the Arizona Monsoon book now available

2010-12-04T07:59:00.000-08:00

pri·mor·di·al
[prahy-mawr-dee-uhl]
–adjective
constituting a beginning; giving origin to something derived or developed; original; elementary

I am very pleased to announce the publication of my first book, Primordial: 2010 – Photographs of the Arizona Monsoon.

I have always been fascinated by clouds, as I’m sure most people have been at one point in their life. As children we see bunny rabbits in them, maybe Abraham Lincoln’s profile or an alligator. As I grew older, though, I started to think more metaphysically about what I was looking at. Was I witnessing Creation itself? Or possibly the Apocalypse? Whatever I was witnessing, it was awesome. I don’t like using the word awesome because it is so overused today by young people that its meaning has been diluted to the point where it means nothing, but I am truly in awe of all the science that has to happen for these cloud formations even to appear and to produce the beauty that results.

My inspiration for this project comes from many sources. The two main influences have been the Impressionist painters of the 19th century and, believe it or not, the Hubble Space Telescope. The Impressionists’ use of color to create form reminds me of the cloud formations I see every night. And some of the images of distant galaxies and stellar “events” that the Hubble has provided are truly amazing. This mix of science and art creates a sense of seeing something at its beginning, something that has never been seen before and that cannot be broken down any further. These images are, to me, Primordial.

The book is 80 pages and contains 57 images. It will be available in two editions – a special signed and numbered limited edition of 15 books, plus 1 artist copy, 1 presentation copy and 3 artist's proof copies. This special edition features a foil-stamped linen cover with dust jacket and includes a signed and numbered 8x10" matted/mounted print of the cover image. This edition will have a pre-publication price of $325 with a publication date of January 1, 2011. Shipping is included. After that date the price for this edition will rise to $425.

The other edition is available from blurb.com as either a hardcover with dust jacket for $74.95 or a softcover for $56.95, but is not signed or numbered. Signed copies are available for an additional $25 but must be ordered through me (not blurb).

To view a larger flash presentation of the book, please click here.

To view prints for purchase, please click here.

Ordering Information:
For more information, please email info@rcodaphotography.com or call
480-247-6401. To secure your limited edition book now at the pre-publication price, please click here. To order the non-limited edition from blurb, click here for the hardcover or here for the softcover. To order a signed, non-limited edition copy, please click here or call.

Notecards make great Holiday gifts!

2010-11-19T12:19:00.000-08:00

Now available in time for the holidays are two sets of 6 notecards. The first features six of my Primordial images. Cards are 4.25x5.5" and include envelopes.

Primordial Notecard set - $15 plus $1.50 s/h

You can click below to purchase via PaylPal or with your credit card.

Also available are a set of six of my daughter, Lindsay's, Western Portraits including a watercolor of a Blue Ribbon horse and five pastels of Cowboys.

Western Portrait Notecard set - $15 plus $1.50 s/h

You can click below to purchase via PaylPal or with your credit card.

2010 Fundraiser Print Auction for InFocus at Bentley Gallery, Scottsdale, AZ, Nov. 9

2010-10-25T09:48:00.000-07:00

2010 INFOCUS Fundraiser

Tuesday, November 9, 2010 • 5:30 pm to 8:00 pm

Bentley Gallery • 4161 North Marshall Way • Scottsdale, Arizona 85251

Join us Tuesday, November 9th between 5:30 and 8:00 pm at The Bentley Gallery in Scottsdale for our Annual INFOCUS Fundraising Auction.

The INFOCUS auction is a great opportunity to see the work of nearly twenty photographers, shop in advance of holiday gift-giving, and show your support for the Phoenix Art Museum’s INFOCUS support organization. This event is targeted at the new collector and bargain hunter, with silent auction bidding beginning at just $150. Historic and contemporary works will be sold and some of the photographers will be attending the event. A range of photographic media, subject matters, and styles will be included so there will be something for everyone. It is a wonderful occasion to get involved with the Phoenix photographic community, and is open to the public – all are welcome!

The auction will feature three framed showcase photographs: an Edward Curtis gravure of San Xavier, a Cole Weston cibachrome of kelp, and a Harold Jones gelatin silver print of an Arizona monsoon sky, with higher starting bids and buy it now prices.

Light refreshments will be served.

A PDF of the flier can be downloaded here:
http://www.infocus-phxart.org/pdf/In...aiser_2010.pdf

INFOCUS
Phoenix Art Museum
1625 N. Central Ave.
Phoenix, AZ 85004-1685
For more information about INFOCUS please call (602) 307-2079 or visit us online at www.infocus-phxart.org.

I am also very honored to have been invited to donate a print.

I'm a Book Publisher!

2010-10-23T19:07:00.000-07:00

I was recently asked to design and publish a book by friend Randy Efros. Randy was Brett Weston's last assistant. The book is a portfolio of 10 platinum prints made during Randy's last trip to Scotland in 2008.

We had talked about all the current self-publishing options out there. Blurb was considered, but I have yet to see a Blurb book that I considered a quality product. Quite a few of my photographer friends have gone this route and all have consistently had quality issues. Another thing that made me cringe was that, until very recently, you could not design your own book. You had to use their software which did not leave much room for being in total control of the design. We finally went with Edition One in Berkeley. They are a small boutique shop utilizing the latest technology (HP Indigo, same as Blurb), but with a personal touch and a traditional book publishing background. Overall, we were very pleased with the quality of the product AND we had total control over the design. The book features a linen cover, foil stamp and dust jacket.

I did all the scans of Randy's original platinum prints, spotted them and adjusted the contrast. I then did a test with Edition One, sending them both RGB and CMYK images for some test prints. The CYMK images ended up looking most like the original platinum prints.

The book is available as a limited edition of 15 (plus 1 artist copy, 1 presentation copy, and 3 artist proof copies), signed and numbered book with an original 4x5" platinum print made by Randy. It will be available as a non-editioned book, as well. The limited edition is priced at $300 for pre-publication orders, and $400 post-publication. Currently there are 10 copies already pre-sold. Non-edition books will be in soft-cover and sell for $50. Books are available by contacting Randy directly at randy@randyefros.com.

Next up is a portfolio of 8x10 silver prints from his Hawaii Portfolio, which will be available for pre-publication in December with a publication date of January 1, 2011.

If any of you out there are interested in this book design service, please contact me at rich@rcodaphotography.com.

Inspirations #26: The Hubble Space Telescope

2010-10-21T20:18:00.000-07:00

Primordial 2827, 2006 by Richard M. Coda

Maybe I should credit the Cosmos, the Universe, or God for this one, but the Hubble Space Telescope is the vehicle to the stars.

I have always been fascinated by clouds, as I'm sure most people have been at one point in their life. As children we see bunny rabbits in them, maybe Abraham Lincoln's profile or an alligator. As I got older, though, I started to think more metaphysically about what I was looking at. Was I witnessing Creation itself? Or possibly the Apocalypse? Whatever it was that I was witnessing was drop-dead beautiful.

The Pillars of Creation, Hubble Space Telescope

Primordial 4245, 2010 by Richard M. Coda

M17 - Omega Nebula, Hubble Space Telescope

Primordial 2878, 2006 by Richard M. Coda

PS16 Orion Nebula, Hubble Space Telescope

Primordial 4148, 2010 by Richard M. Coda

In the past 5 years I have taken few cloud images because I was too busy. When I lived in New Jersey these types of skies were rare, but again, I was too busy. This year I am still too busy, but something clicked in me to take 15 minutes at the end of my day and hunt for clouds. Almost all of these were taken from either my back yard or my front yard, occasionally a hundred feet or so down the road… but never far. That is one of the things I love about this series. And the Arizona skies are a far cry from those in New Jersey. They are dramatic and sometimes you can see for 50 or more miles (try that in Jersey).

Anyway, every day now I am on the prowl. I am in the process of editing these down to a portfolio of 10-15 prints and am working on a book/print package. I may do one every year because the subject matter is endless and never the same.

Special Primordial Clouds Print Offer - $25 11x14"

2010-08-26T15:18:00.000-07:00

I have always been fascinated by clouds. Originally in black & white, and recently in color. The annual monsoon season here in Arizona can provide some spectacular skies in both the mornings and the evenings.

I started a series this year and hope to add to it every year and whenever else the heavens oblige. In honor of this new series I am offering 11x14" Special Edition Prints (8x12" image size) for a special price of $25 plus $5 S/H through midnight, Saturday, August 28, 2010. This is a great deal and you know you've always wanted one... so visit http://www.rcodaphotography.com/primordial/ and pick out your favorites today.

Remember, the sale ends at midnight, Saturday, August 28, 2010.

Cell phone "photography"

2010-08-03T08:57:00.000-07:00

I was at the Appaloosa Library in Scottsdale with my daughter yesterday. This is the newest library in the system and one of the coolest buildings. It is one of those "green" buildings. Anyway, while we were walking in I noticed some neat geometric lines... the kind that you see often in my work. I did not have any cameras with me... so I [brace yourself] took out my cell phone and made an image with it. [horror... shock... quiet came over the room...] I did have to have Lindsay show me how to do this ;^)

OK, calm down... I only did this so I would have a visual record, remember, I'm 50 now and my memory is going south. I plan on going back with the 4x5 and 8x10 cameras to get this puppy in both B&W and color. I have actually photographed this building before, earlier this year and on the other side, with the 8x10 but haven't done the film yet. I'm saving developing for when it's a little cooler.

I have several "library" images and plans for more, hopefully producing a portfolio next year. Anyway, back to cell phone "photography".

When I was photographing the Disney Concert Hall in Los Angeles a couple of years ago I remembered going into the gift shop the year before on a short vacation. They had "Cell Phone Photography" of the building on display and for sale. $125 for a 5x7" inkjet print. I remember all the BS in the artist's statement about how great this work was. It was crap.

Now, after making my cell phone image I feel even more strongly about this. The image from my Motorola Razr came in at 320x240 pixels (77kb) at 72 dpi. The color was awful, too. To put this amazing image quality into perspective, my 4x5" camera's "native" resolution is approximately 20,000 x 25,000 pixels (500MB). My 8x10" is 40,000 x 50,000 pixels (2 GB) and my 11x14" is 55,000 x 70,000 pixels (3.8 GB). My smallest camera (4x5") has 6500 times more resolution! I don't even want to get into the math for the big cameras!

A color corrected (best I could do) version and a B&W version are below.

My conclusion on this subject is that I'll have to go spend tons of money on a new iPhone so I can get some better photographs! ;^)

Photographs: Revisited

2010-07-23T09:24:00.000-07:00

Every once in a while I like to, as George Tice would say, crack open a bottle of wine and look at [my] photographs. Revisiting photographs is a great way to see things you didn't see previously, to think about new or different ways to make the print, or just plain reminisce.

Many of the great master photographers revisited their hunting grounds on a regular basis. Edward Weston moved to be within walking distance of Pt. Lobos so he could have un-fettered access to it. Ansel Adams spent a great deal of his life in and around Yosemite NP. George Tice has produced two monographs of work on Paterson. The list goes on...

I started thinking about revisiting my photographs this past week due to two things. First, one of my sisters got a new job just a few blocks from some of my early photographs in Paterson, NJ. So, I decided to look up some of the locations I used to photograph on Google Maps. I was expecting for these places to be gone... bulldozed, burned, replaced by vanilla structures. Much to my surprise (and delight) they are still there!

Foundation, Paterson, NJ, 1983 by Richard M. Coda

138 Getty Avenue, Paterson, NJ, 2010, via Google Maps

Garage Doors, Paterson, NJ, 1983 by Richard M. Coda

62 Grove Street, Paterson, NJ, 2010, via Google Maps

Garage Doors, Paterson, NJ 1983 (uncropped) by Richard M. Coda

Second, I was driving up 32nd St. in Phoenix yesterday and noticed one of my photographs has once again "disappeared" (this is the second time for this particular image). It was previously overpainted an ugly black, brown and green striped pattern. Now it is solid red and yellow. I will be sure to go back and make another image soon.

2320, Phoenix, AZ 2008 by Richard M. Coda

I am sometimes torn between photographing new locations and going back to old locations. While "change" is inevitable, I am torn between letting things be and rejuvination. Letting them be can become urban blight, which can be great for a photographer, but not so nice for the people who live nearby. Updating things can make them "plain vanilla" and visually uninteresting. Sometimes I get lucky and get both!

Work of Art

2010-07-15T10:57:00.000-07:00

I heard the most ridiculous thing yesterday morning...

Lindsay was watching "Work of Art" on Bravo (kind of like project runway only for artists). The challenge was for a "shocking" piece of art and one of the guest jurors was Andres Serrano ("Piss Christ")... a hack IMHO. He was critiquing a piece and said, and I quote, "The piece failed for me because I didn't get it. It had to be explained to me..."

Now, wait one damn minute... here's a guy who's made his career shocking people and leaving them scratching their heads, telling us that if "he" doesn't get it then the art has failed. In that case most art fails.

We went to the Cave Creek Art Festival's "Adult" showcase (no not that  kind) last week and there was this guy there with a sculpture  "explaining" it to people who obviously didn't get it. "Oh, there's  three drops of real human blood here because..." The sculpture was very "interesting" (to paraphrase my friend Joe Trevino), but, give me a break.

BTW, Lindsay had all three of her pieces (one watercolor and two pencil drawings) accepted in the Youth Division of the Visual Arts Competition in the Cave Creek Film and Fine Art Festival this year. She also had one of those pencil drawings selected as a finalist. We find out this weekend which prize she has won. Side note... the quality of the work in the Youth Division was VERY high this year. For the most past, the work was as good, if not better, than some of the Adult division work. Please support your local youth arts organizations.

I hope to start posting more very soon. Work has finally picked up and I don't have much time for photography or anything else. I also turned 50 in June and was planning a big post on that but it will have to wait. Stay tuned.

Waterfall

2010-05-28T21:04:00.000-07:00

So now it's getting late, for those who hesitate, got no one,
But they don't understand and no one hears the sound,
It's like a waterfall, it's an illusion.

CHORUS
Love is all, waterfall, love is what you are,
Pulls you in, takes you down, it's a sad affair,
But you know as you hold back the power there without the friends
And lovers you could never go on living.

Across the waterfall that's falling evermore down on you,
Cascading through the days, and flowing on it's way,
That's how it has to be, just an illusion.

–Electric Light Orchestra

It's been a while... work has finally picked up... and I am thankful. That doesn't leave much time for photography. Anyway...

I went to Arizona Falls a few weeks ago early on a Sunday morning with the 4x5" camera. It's a very interesting place. I could only spend 45 minutes there and will go back, but these are my first images from there. One is just soft as I was trying to get a certain effect in the water with timing and just couldn't get the depth of field I wanted shooting wide open. I'll try again with a longer exposure and stopped down more.

Arizona Falls #3, by Richard M. Coda, 2010

The other two were from behind one of the falls, each with a different shutter speed. I prefer the shorter exposure (top) over the longer exposure (bottom).

Arizona Falls #1, by Richard M. Coda, 2010

Arizona Falls #2, by Richard M. Coda, 2010

I also took these all in Black & White but haven't developed the film yet. Anyway, it felt good to be under the dark cloth again and hopefully I will get to spend a little more time now that my daughter's school is out.

Prescott Chalk it Up 2010...

2010-04-27T16:32:00.001-07:00

The website for Prescott Chalk it Up 2010 is now up and running.

Check it out... there are lots of photos and a lot of good chalk art. The local fire department took some overhead shots in Album 7, too.

And, again, congratulations to our daughter, Lindsay, on winning the People's Choice award!

Prescott

2010-04-24T18:40:00.000-07:00

John Wayne, in progress, by Lindsay Coda, chalk on pavement, 2010

Pronounced PRES-skit. Make sure you don't say PRES-skot in town... you will be laughed all the way back to Phoenix.

Anyway, while my daughter was painting her John Wayne portrait at the Prescott Chalk it Up festival last weekend, I took an hour each day to just wander around town with my wife and grab some breakfast. During these walks I found a few things to photograph. I had the Nikon D300 with me during breakfast.

They also had great entertainment, including these young ladies.

I also brought the 4x5" and 8x10" view cameras with me, just in case. Good thing, because there were two images I couldn't pass up. I took both of these with the 4x5" on Velvia 100.

Hugo's, Prescott, AZ, 2010 by Richard M. Coda

The Warehouse, Prescott, AZ, 2010 by Richard M. Coda

VOTE!, Prescott, AZ, 2010 by Richard M. Coda

And, last but not least, don't forget to VOTE... For Lindsay by tomorrow, and in November... and remember, "VOTE THEM ALL OUT!"

Public Art...

2010-04-24T18:06:00.000-07:00

My friend, Juan Garcia, is very interested in "public art"... not the kind that is funded my cities and states, but the kind that is sometimes legal, sometimes sponsored, and sometimes good. Graffiti, in other words. He has amassed quite a body of work on this genre and is working on a photo book.

About a month ago Juan invited me out on a Sunday morning to show me some of the places he has photographed this public art in Phoenix. Our friend Tiffany Pacileo came along as well. He has also photographed in Tucson and Los Angeles.

One place in particular he took me to was behind the Barrio Cafe on 16th Street in Phoenix. This is a fine-dining Mexican restaurant, who's chef, Silvana Salcido Esparza, has been nominated for a James Beard Award this year. One of the neat features of this place is that the owner of the restaurant has commissioned a local artist, El Moisés, to paint a mural on the block wall that lines the driveway and parking lot behind the restaurant. This mural was written up in the Arizona Republic in December, 2009.

Barrio Cafe mural by El Moisés, 2010

There are many distinct sections to the mural and it incorporates Aztec, Chicano, Pop Art, and Religious elements. One particular element that caught my attention was the Lucha libre (free wrestling) masks. These are masks worn by "professional" wrestlers of Latino descent. I remember watching them as a kid, when pro wrestling was good. Remember Bruno Sammartino, George the Animal Steele, and the Iron Sheik? Those were the good ol' days. These look almost like those Power Ranger cartoon guys.

Barrio Cafe mural by El Moisés, 2010

Anyway, we checked out a few more places, and I came across this. It is an old window or something, that has been boarded up, and had bars put up over it. Then it was colorfully painted. The colors, textures and geometry were very interesting all together.

Painted Grid, Phoenix, 2010, by Richard M. Coda

After we called it a morning I headed to a place that I had found a week earlier, on Seventh Street just south of Roosevelt, a few blocks north of Chase Field. It is an old ad on the side of a building that houses Avant-Garde William & Co. It kind of reminds me of the Babbitt's Ad that I photographed in Flagstaff back in 2008, only this time black & white just didn't work for me. Actually, I want to photograph the Babbitt's ad in color as well.

803, Phoenix, AZ, 2010 by Richard M. Coda

All of these images were shot with 4x5 Velvia transparency film.

Remember, you have until Sunday to vote for Lindsay's John Wayne chalk painting at Prescott eNews. Vote and vote often!

Vote for Lindsay!

2010-04-19T10:02:00.000-07:00

Vote for Lindsay! The local Prescott newspaper is having an online reader vote. Lindsay can win a cash prize. Thanks for your support!

The People's Choice...

2010-04-18T19:24:00.000-07:00

This weekend we went up to Prescott, AZ, so our daughter, Lindsay, could participate in the 2-day Prescott "Chalk it Up" festival. This is a street art festival where anyone could reserve a space in a parking lot and do a chalk painting. Sizes varied from 2x2 feet to 10x10 feet. Lindsay decided to take a 4x6 foot space. Originally her art club was supposed to attend and participate, but schedule conflicts canceled the trip. Lindsay decided she wanted to participate on her own. She had previously participated in the Via Colori national events (Scottsdale, 2009, and Glendale, 2010) and really enjoyed them. This is difficult and back-breaking work, too.

So, she had to pick a subject. She loves all things cowboy so she picked the most famous cowboy of all... John Wayne. She did all the prep work finding a photograph, overlaying a grid over it, and getting all her supplies together. We were very impressed. Seems a lot of other people were, too. Most could not believe she is only a sophomore in high school. One couple have even asked Lindsay to do a commission for their home... they are BIG John Wayne fans!

The weather was beautiful, in the 70s and sunny... a little too sunny it seems, as we all got a good pre-tan working. We went up on Saturday assuming that Lindsay could finish in one day. Well, she took her time (in a good way) and really worked the details. So we decided to leave around 3:00 PM on Saturday, get something to eat before the 1.5 hour drive home, get a good night sleep and make a strong finish on Sunday. She had the portrait done the first day and just had to fill in the background and fine-tune on Sunday.

There were between 100 and 200 participants this year, including some professional chalk artists from California and Colorado. Originally there were supposed to be a "Best in Show" and a "People's Choice" award, as well as several awards for the 12 and under artists. Due to budget restraints there was only a People's Choice award this year as we just found out... and the people chose Lindsay! We are so proud of her! Congratulations, Linds!

A note to any parents out there. With all the school budget cuts, especially in the arts and music, please have your children participate in these (mostly) free events. They also had entertainment featuring local students and residents, including a steel drum band, a children's marimba band, a senior dance group, a local high school freshman fiddler, belly dancers and hoop dancers. We found out that the marimba conductor, a school music teacher, had just been laid off. I hope that these casualties of the economy will see the need for extra-curricular classes and start businesses of their own. We have to offer them our support to keep the arts alive.

Help Save Ellis Island!

2010-04-11T20:45:00.001-07:00

Blue, Ellis Island, NY, 1984 by Richard M. Coda

I am very proud to offer a special edition print, Blue, Ellis Island, NY, 1984 in an effort to help raise funds to continue the wonderful work at Save Ellis Island. As you may have heard, they have run out of funds and need to raise $500,000 by the end of April, 2010, or... the project will be no more. I had to privilege of working with the National Park Service and Montclair State College during the summer of 1984 in the Ellis Island Photo Documentation/Interpretation Project II. During this project we assisted the NPS in documenting the island before renovations had begun. In return we were free to artistically interpret what we saw. This image is part of my experience at Ellis Island. Working primarily in black and white with a 4x5” camera, this is the only color image I made during the project.  

This image is available in two versions: as a 4x5” image on 8x10” paper and as an 8x10 image on 11x14” paper. Prints are on Fuji Crystal Archive, the most stable true photographic color paper available today. The 4x5” version is priced at $50 and the 8x10” version is priced at $100. Shipping is $12.50. To purchase, please visit www.rcodaphotography.com/emails/ellis. For more information, please call or email.  

Half of all sales of this image will be donated to the Save Ellis Island fundraising effort.

Absence makes the heart grow fonder...

2010-03-26T16:35:00.000-07:00

Sorry I haven't posted in a while. I've had a lot on my mind.

But I do have a few posts upcoming... some from recent InFocus events, and a post on "Remastering" one's self.

Colour My World...

2010-02-25T09:53:00.000-08:00

Citrus, 2010 by Richard M. Coda

Yes, the famous slow-dance song by Chicago from the 1970s. But also the new mantra of a formerly black & white only kinda guy.

My wife brought home some tangelos and lemons given to her by one of her friends. The colors were so intense I had to photograph them. I picked up a couple of dark limes from the store to finish out the palette. Then I put them in a mahogany bowl I made in high school. I love this bowl. Years after I moved out of my parents house I came by one weekend when my mother was having a yard sale. And there was MY bowl... on sale for a nickel! Well, I couldn't stand the thought of that bowl in some stranger's house so I bought it back. Anyway...

I set everything up in the afternoon shade in our back yard and photographed it on Fuji Velvia 100 with the 4x5" camera. These colors are not fake, even though they might look it.

I have always told my daughter that you can't be a famous artist until you do a bowl of fruit. Now, I am famous!

Candy is dandy, but liquor is quicker...

2010-02-11T11:08:00.001-08:00

Tower Liquors, Phoenix, AZ, 2010 by Richard M. Coda

I remember that line from one of my favorite movies as a child (and as an adult)... Willy Wonka.

One thing that sticks in my mind about that movie is the color... it is everywhere and not shy. Anyone who knows me as a photographer knows that if I shoot color film it has to be ABOUT color. Everything else is a bonus.

While my wife and daughter were at a Reba concert last week, I took the opportunity to try a little night color photography. There are these two liquor stores in Phoenix that have the most amazing colors at night. Tower Liquors (above) has more earth tones and a pastel quality to it. I had tried photographing this last fall with the 8x10" camera and transparency film but was off in my exposure and did not like the result. So I went back last week and tried using 4x5" color negative film to try and bring out the pastel qualities more. I think it worked.

I scouted the other liquor store, The Liquor Wheel, but it was too busy (constant drive-thru traffic) and I'd have to be across the street about a hundred feet away. I could use the 450mm lens to bring me in, but this is also not in the best neighborhood. This store has more cool tones in it and looks like a Christmas tree all lit up. I may try it again with some backup.

Inspirations #25: Ansel Adams, Riverside

2010-02-09T16:58:00.000-08:00

Seven Springs, AZ, 2010 by Richard M. Coda

OK, since attending the Ansel Adams preview last week I have him on the brain. There were many wonderful prints of both his well-known and not-so-well-known images. Two of my favorites are Merced River, Cliffs, Autumn, 1939 and Tenaya Creek, Dogwood, Rain, 1948. There were several prints of each at the show.

Merced River, Cliffs, Autumn, 1939 by Ansel Adams

Tenaya Creek, Dogwood, Rain, 1948 by Ansel Adams

On my recent field trip with John Prouty and Juan Garcia to the Seven Springs Campground and Tonto National Forest I took the first "landscape" I have taken in a very long time. By landscape I mean something Ansel Adams might have taken. Most of my work in the past five years has been urban in nature, and, as I have stated before, as I approach 50 I find myself being drawn to the comfort of landscapes.

This image was actually my first image of 2010, taken with the 8x10" on TMax 400. Of course, mine is no comparison to Ansel's images but when I saw it I immediately thought of these two images. The more I look at it I wish I had made it a horizontal image. I remember doing that initially and something bothered me so I switched the back to vertical. I just can't remember why... I guess I'll have to go back and photograph it again.

Ansel Adams: Discoveries at PHX Art Museum

2010-02-03T17:49:00.000-08:00

Michael Pesselato views "Monolith" in its various incarnations.

Last Friday I had the privilege of attending the opening of the "Ansel Adams: Discoveries" exhibit at the Phoenix Art Museum. Accompanying me were Michael Pesselato, from Phoenix Country Day School, John Prouty, and the Famous Larry Golsh and his wife, Sharon. This was a special opening for museum Circles members and members of our support group, InFocus.

This expansive exhibit was curated by Dr. Becky Senf of the Center for Creative Photography in Tucson, where Ansel's archives are located. The usual suspects are present and, in some cases, in forms you may not be familiar with. One of the highlights of the exhibit was Ansel's color work, which is not widely seen. Although interesting, it just doesn't have the impact of his black & white work.

The reception featured wonderful food and drink and lots of photography talk.

The Famous Larry Golsh, Randy Efros, Judy Zuber and Juan Garcia (l to r)

John Prouty, Juan Garcia, Sharon and the Famous Larry Golsh

The "Moonrise" section... negative, straight print, early and later finished prints

There was a video of Ansel in his darkroom.

Some of Ansel's color work, much of it from Arizona Highways.

The exhibit is up until June so I plan on visiting it several times where I can go at my own pace. If you're in the Phoenix area make a point to see this important exhibit as it will not be traveling.

Arizona Sycamore

2010-01-24T17:25:00.001-08:00

Arizona Sycamore Bark, Seven Springs, AZ, 2010 by Richard M. Coda

This is the first large format image I have from our recent trip to Seven Springs and the Tonto National Forest.

The mottled browns and blues and grays are what originally attracted me to make this image. I also took it in black & white and hope to have it and my 8x10 creek negatives developed in a day or two.

Let me know what you think.

Oranges, Poranges, Who Cares?

2010-01-24T08:06:00.000-08:00

Orange Trees, Phoenix, AZ, 2010 by Richard M. Coda

OK, I may have just dated myself... that's from a silly song from an even sillier children's show from the late 1960s-early 1970s... H.R. Pufnstuf.

Anyway, every quarter we have a "theme" night at our Imageworks meetings. It's designed to get members out photographing for more than their six required large format images each year. The theme for our March meetings is "Orange" (the fruit, not the color). I would definitely not have any problems with the color... there's so much of it in the ethnic parts of Phoenix. But, there are also tons of orange trees (and other citrus) here in the valley.

As soon as I heard the theme I immediately knew where I would photograph. I also knew what type of day I needed to get what I wanted... overcast and early, just after sunrise. As it turned out, I got lucky. Two weekends ago it was supposed to be cloudy on Sunday morning. I packed up the car Saturday night, got up at 5:00 AM and was out the door at 5:30. I was at my "secret" location by 6:30 after a quick stop at Dunkin Donuts for a cup of coffee. No one knows where this location is... because they pass right by it every day. It's on 40th Street between Campbell and Indian School.

I love the symmetry and the delicate wall background color against the brilliant white tree trunks. Topped off with green leaves and... oranges.

Still... Life...

2010-01-23T19:52:00.000-08:00

First, I have to admit that I am not a still life kinda guy... I prefer to be outdoors. I have done a very few over the past 30 years but never spent any real time learning about lighting and the like.

In December, we took our daughter Lindsay to the National Portfolio Days. She received very high praise, especially being "just" a high school sophomore. However, they all said that she needed to do more drawing/painting from life (not photos). She immediately got "in the zone" and we took her out to the Goodwill and several "shops" to get what she needed for her "Western" still life. She set everything up and even set my lights up. I was so impressed with her that I glommed onto her composition.

This is 4x5 using Portra 160 (only the second time I have used it). I'm happy. I've also included Lindsay in action.

New Photo Gallery in Phoenix...

2010-01-15T18:16:00.000-08:00

My friend, the famous Larry Golsh, notified me today about a new Photography Gallery that just opened in Phoenix – Bokeh Gallery.

Their first show features John Wagner and an interview with him. Although I am not familiar with his work, I did enjoy the interview. My favorite part...

Bokeh: Yes, puzzling evidence.
And speaking of the evidence or the need for more, did u get your masters? The reason why i ask is I recall fondly hearing the advice…well most artists we represent have their masters.

JW: Crap….all that teaches u is bullshitting about photography not taking the picture…and that guy is not gonna be sitting in living room of your home explaining the picture to you every time you look it.

Seems I'm not the only one that feels that way!

Road Trip... Not!

2010-01-13T10:41:00.000-08:00

My friends John Prouty and Juan Garcia invited me on a little photography safari this past weekend. The plan was to start out at Seven Springs and then work our way through part of the Tonto National Forest. I had never been to Seven Springs and never deep into the Tonto NF. Thankfully, John offered to drive with his Ford F350. Good thing... my Acura MDX would have fallen apart if we had taken it!

The road to Seven Springs is paved part of the way, then it becomes a graded road. We stopped at the Seven Springs campground, which was empty. We were there for maybe an hour photographing with 4x5 and 8x10 cameras. I exposed my first negatives of 2010... an 8x10 landscape of the stream and trees, then a detail of American Sycamore bark in both BW and color 4x5. Scans to come as I develop them.

We then took off for the wild unknown. John had not been back this way in over 20 years, but not much changes here. The road goes from graded to "primitive". That means virtually non-existent... strewn with rocks the size of basketballs at points as you are actually driving through (sometimes) dry river beds. It is truly beautiful out here, in a minimalist sort of way.

The Verde river at Sheep's Bridge prior to crossing

Dead leaf composition

In fact, we had to cross the Verde River twice on the way back. It was either that and save a few hours, or backtrack and get back well past dark. John braved the cold water to test the depth to make sure we could cross... only three feet... and he skillfully crossed it in no time. The truck on the other side in the photo decided not to risk it even after watching us cross.

John Prouty testing the depth of the Verde River prior to crossing.

Verde River after crossing

Juan Garcia photographing some saguaro

North of Horseshoe Lake

And what trip would be complete without a little Photoshop fun. No, John did NOT actually walk the cable across the river...

Efros/Kitts/Hojnacki Exhibit at ASU Library

2010-01-13T10:26:00.000-08:00

From left, Randy Efros, Matt Hojnacki, and John Kitts

On December 4, 2009 I attended the opening of a photography exhibit by friends Randy Efros, John Kitts and Matt Hojnacki at the ASU Library located at 411 N. Central Ave., Phoenix, AZ.

Many of our Phoenix-area photo community friends attended this expansive show. 64 images were shown between the three artists. The quality of the work was very high. These three artists have been photographing for over 60 years collectively. The show continued through January 31, 2010.

Image by Randy Efros

Images by John Kitts

Images by Matt Hojnacki

John Kitts

Inspirations #24: Moonrise

2010-01-12T17:12:00.000-08:00

OK, there's been this big discussion over on largeformatphotography.info about why Ansel Adams' Moonrise, Hernandez, NM is his most sold image. The answer, basically, is that is just drop-dead beautiful. It is a haunting image, and based on Adams' writings, it haunted him in the darkroom. For those of you who don't know, the original contact print looks nothing like the finished print, and even the finished print evolved over the decades. The amount of work that went into the final print is astonishing and has probably not been rivaled since, nor will it ever be.

Moonrise, Hernandez, NM, 1941 by Ansel Adams (finished print)

Moonrise, Hernandez, NM, 1941 by Ansel Adams (straight print)

Every photographer has their own personal Moonrise, whether it is actually a moonrise or a completely different subject matter. Moonrise has come to be defined as a photographer's iconic image... the image that he or she becomes known for. I have been told that my Moonrise is Whaler's Cove, Pt. Lobos,CA 1984. But, I actually have a real Moonrise.

Ansel Adams had other Moonrises, too... Moonrise from Glacier Point, Yosemite NP, CA,

Moonrise from Glacier Point, Yosemite NP, CA, 1953? by Ansel Adams

Autumn Moon, the High Sierra from Glacier Point, Yosemite NP, CA, 1948 by Ansel Adams

In 1989 I spent a month in California, renting a house in Carmel so I could photograph and immerse myself in the rich photographic history of this beautiful place. A college friend of mine, Alan Grossman, flew out with me as he had a wedding to go to in Palo Alto the next week. So that first week we went to Yosemite. Neither of us had ever been there before and we were awe-struck. You drive around the loop in the Valley and all you can do is look straight up, and not in front of you where you should be, and say Oh, my God! It is truly one of the most beautiful places on Earth.

Towards the end of our stay we had heard there would be a good moonrise and that Glacier Pt. was the place to be. So Alan and I photographed in the Valley during the morning and after lunch headed up to Glacier Pt. so we could stake out our spot. Of course, there were many other photographers there with the same idea.

As it started to get dark (and cold) we were set up and I was able to make the image below.

Moonrise, Glacier Pt., Yosemite NP, CA, 1989 by Richard M. Coda (final print)

After I came home 3 weeks later I developed the film. There was so much range in the negative that I could never print it. See my earlier post about how digital saved this image. Below is the original straight scan from the negative. I can truly appreciate the work Ansel Adams put into his Moonrise now because I've been there. Even digitally, there is a lot of work on this image. Gratefully, it only has to be done once, and not 600-700 times like Ansel had to do!

Moonrise, Glacier Pt., Yosemite NP, CA, 1989 by Richard M. Coda (straight print)

Inspirations #23: Edward Weston - Cypress

2009-12-29T09:06:00.000-08:00

When one is visiting the California coast one cannot ignore the cypress trees that make this rugged land their home. The cypress was one of Edward Weston's favorite subjects. I believe he felt a connection with these tenacious conifers, often gnarled in this part of the world from eons of wind. He photographed them equally well as both part of the larger landscape and intimately.

This image of cypress roots has an abstract quality to it, reminding me of flames and even a mountainside or cooled lava flow.

Cypress Root, Pt. Lobos, CA, 1929 by Edward Weston

My father was a printer, and when I was young he would take me to the paper company when he ordered paper. I was fascinated by the entire process, including how paper was made on a commercial scale. I remember receiving a poster of this process from his salesman at the warehouse on the life cycle of a tree (for paper-making purposes, of course). There was an illustration of a redwood with a time line depicting the life of this giant which included the birth of Christ. This fascinated me how something could live that long. And the key to deciphering this was the rings. Rings... also the source of grain.

The image below was taken in the Allan Memorial Grove at Pt. Lobos, most probably in the same area Weston photographed his roots in 1929.

Cypress Grain, Pt. Lobos, CA, 1986 by Richard M. Coda

This image, in addition to being inspired by Weston, was also the result of an image I made on Ellis Island two years earlier of a piece of very weathered plywood. I would love to continue a series on this theme of grain... the life story of trees.

Grain, Ellis Island, NY, 1984 by Richard M. Coda

Inspirations #22: Ansel Adams "Redwoods"

2009-12-28T15:18:00.001-08:00

Redwoods are hard... oh, and hard to photograph, too.

It is very hard to find a place where you can get far away enough to encompass the sheer size of a redwood. Ansel Adams was able to find such a place in the Humboldt Redwoods State Park in northwestern California.

Redwoods, Bull Flat Creek, CA, 1960 by Ansel Adams

I was not as fortunate to have the time and resources to travel all over California, so instead, during a 1987 trip to Carmel, I finally had the right lighting conditions to photograph this stand of Eucalyptus trees at the junction of Palo Colorado Rd. and Hwy 1 in Big Sur. These trees are beautiful and fragrant, but no match for coast Redwoods.

Highway 1 and Palo Colorado Rd., Big Sur, CA, 1987, by Richard M. Coda

Many people drive past this stand of trees every year, but few, if any, stop to appreciate their simple beauty. I consider myself lucky to have been one of the few.

My first attempt to photograph a redwood resulted (IMHO) in a mediocre image. Others have told me they like this image but I just think that it doesn't "feel" like an image of the greatest [size] of all Flora.

Redwood, Big Basin State Park, CA, 1987 by Richard M. Coda

Post Christmas Observation

2009-12-26T17:23:00.000-08:00

Jesus for Sale, 2009 by Richard M. Coda

I took my daughter out to the "Town Dump" in Cave Creek today so she could photograph some "western" stuff to use in one of her paintings. The Town Dump is a touristy, kitschy, western themed curio shop. Lots of rusted sculptures, old sewing machines, Mexican wooden doors, cow skulls... you name it. Visually very interesting. They have these little niches where they have items displayed... some are "themed" some are totally not related to each other. In one of these niches I found this. For some reason this image disturbed me quite a bit... almost like saying Jesus was for sale... for $28. And, a classic painting like this ending up pasted on some old wood almost made me cry. Another affront to Christianity, I guess. Kind of reminds me of my Salton Alien image. I think I'll have to go back and see if I can photograph it with the big cameras.

Guest Blog: Christmas... Lindsay Style

2009-12-25T20:12:00.000-08:00

My daughter, Lindsay, is an artist at heart, and a traditional one at that. She loves the Masters and prides herself on technique. She paints and she draws using a variety of mediums. We took her to National Portfolio Days a few weeks ago, and at 15, she received comments like, "If you were a senior showing me this portfolio today, I'd offer you a scholarship right now... wouldn't think twice about it" (NHIA). "A lot of people are going to be after you in a couple of years." (AIBLU) Yes, she is an artist... but put a camera in her hands and she's a completely different person.

We went out to look at some of the larger displays of Christmas lights tonight. Lindsay is a very unorthodox photographer, especially when it comes to night photography and Christmas lights... she uses the camera as if it were a paint brush, creating strokes and abstract compositions, even though she does not like abstract art (yet).

She even got me doing it...

And, here are a few action shots...

Merry Christmas!

2009-12-24T07:12:00.000-08:00

Please don't call the ACLU on me!

Photo by Lindsay Eve Coda, 2008

From my family to yours, we wish you a blessed and Merry Christmas.

More Old Color

2009-12-23T20:08:00.000-08:00

Just going through some more old chromes where I got lucky and made a good exposure.

Ellis Island, NY, 1984 by Richard M. Coda

Pinnacles National Monument, CA, 1980s by Richard M. Coda

Jasper National Park, Alberta, Canada, 1990 by Richard M. Coda
This is a honeymoon photo on 8x10 transparency film.

Zion National Park, UT, 2000 by Richard M. Coda

Oh, what a glorious morning...

2009-12-18T10:28:00.000-08:00

Wednesday morning, the girls just left for their last day of school before the Christmas break. As I was firing up the computer to begin my day I looked to the East out my office windows and saw this... Still in my robe I ran to get my Nikon D300 and outside to take this. There are houses on the ridge and I didn't want to include them, but left the top of the power lines in. The colors were incredible, as they are frequently this time of year. Looks almost like an orange tidal wave or a star that's way too close to Earth!

I have to try and get up earlier and get out there with the big cameras!

Guest post: The Famous Larry Golsh

2009-12-18T10:04:00.000-08:00

My friend, the Famous Larry Golsh, showed some new prints the other night. He showed two series of three images that were particularly nice.

The first was a trio of images of Ocotillos taken in Ocotillo, CA in the Anza-Borrega Desert. For those of you who have never been, the Anza-Borrego Desert is in southeastern California, just west of the Salton Sea. It is the largest state park in California. It can get wicked hot there as it is not too far from Death Valley and Palm Springs. Parts of it can look like the opening of "The Sound of Music" in Spring, but parts of it look like the moon at times. Ocotillos are native desert plants that can best be described as rose bushes without the roses. Tiny leaves and LOTS of thorns... truly alien looking to the new visitor... and can grow to 30 feet tall.

The next series were images of Paris that Larry took during his stay there this summer. These are crops from 4x5 negatives, which work quite well in the panoramic format. The image of the train tracks is part of a series Larry is working on about the parts of Paris that tourist don't usually see... kind of like the images of Phoenix that I take... things the local passes by and doesn't think twice about.

Nice work, Larry!

Inspirations #21: Minor White, Part 1

2009-12-15T10:08:00.000-08:00

Minor White (1908-1976) was a contemporary of Ansel Adams. He was also a poet and much of his life centered around the spiritual and mystical. He took Alfred Steiglitz's "Equivalents" to the next level, creating imagery that in effect became a mirror of the photographer himself. Aside from his prolific photographic career he also served as the editor of the influential Aperture magazine and as curator of the George Eastman House in Rochester.

When I was younger I attempted to wrap my brain around his theories, but the realities of life always got in the way. Subconsciously, however, I think Minor White's writings and images left a deep impression on me. I have always thought that images should be able to stand on their own, without text, cute titles or captions, although Minor White employed these, and unlike today where "emerging" artists dictate to the viewer what they are trying to say to the viewer, and that images are, indeed, a reflection (mirror) of the person creating them. I'll let the psychologists try to figure me out, though... I don't have the time or desire.

Moon & Wall Encrustations, Pultneyville, NY, 1964, Minor White

Opus 40, Saugerties, NY, 1988, Richard M. Coda

Urban Removal, Portland, OR, 1939, Minor White

Untitled, Brockville, Ontario, Canada, 1986, Richard M. Coda

I have been inspired by Minor White many times. This is the first part of a series on his inspirations. Look for more in future posts.

Real Genius...

2009-12-08T16:48:00.000-08:00

What is real genius? Some people think it's a number. I think it can be someone who has a keen insight on what it is to be human. Charles Schulz was such a man. Tonight "A Charlie Brown Christmas" is on for the first time this Christmas season. I have never missed this classic cartoon. Me and Charlie go way back... we are almost the same age. Another genius... Vince Guaraldi. Some of the best jazz ever written... and for a childrens' cartoon, no less.

Me and Charlie, 1962, somewhere in England, by Richard J. Coda Jr.

I will remember those dreadful curtains to the day I die. They followed us home to the U.S. and I can remember them well into junior high. As a sophomore in college, my Chemistry exams mysteriously fell on the nights the three Charlie Brown specials were on. The professor was noticeably absent at all of the exams. I figured he was home watching Charlie Brown. Imagine his surprise when I ratted him out in the school newspaper!

All kidding aside, this cartoon could be a textbook. It shows man at his best and his worst; at his cruelest and his kindest; at his most guilty and his most innocent; at his most arrogant and his most humble; at his most selfish and his most selfless; at his happiest and his saddest.

I remember Christmases as a child. We had snow; we had real trees; we had the Norelco Santa; we had simple gifts; we had a completely different view of what "Christmas is really all about." To tell you the truth, I actually feel like Charlie Brown does... today, "it's all wrong".

Maybe it's because my daughter is now a young woman and I long for those Christmases when she was little. Maybe it's the attack on Christmas. I don't know.

I hope that someday I can get that magical feeling back again. I know, tonight, for a half an hour while I watch with my daughter, I will feel the magic for a little while.

Imagine...

2009-12-08T10:21:00.001-08:00

Every generation has those moments in their lives that they remember where they were when a significant event occurred. For my father's generation, it was Pearl Harbor and John F. Kennedy's assassination. For me, ironically, it also involved the assassination of a man named John and an attack on the United States. September 11 and the murder of John Lennon.

My September 11 memories are on this blog here. But with the John Lennon murder I was much younger and naive. I was a sophomore in college. It was Monday night... that meant Monday Night Football at one of the local pubs with my roommates. I had a little too much that night and I remember little. I do remember waking up the next morning and telling my roommate that I had this horrible dream that someone had killed John Lennon. He gave me the paper and said it was no dream. I guess I did remember the news flash during the game. It was a very sad day. One of the voices of MY generation had been snuffed out.

What would the world be like today if all these lives had not been extinguished? One can only Imagine...

Inspirations #20: Airplanes

2009-12-07T19:30:00.000-08:00

My father was in the Air Force for 17 years in the U.S. and Great Britain, where I was born. This is ironic because he was deathly afraid of flying. His last flight was when we returned to the U.S. for good in 1963. As a result of his phobia, I never got on a plane again until 20 years later. He wouldn't even drop-off/pick-up any of us (kids) at the airport. Even so, I have always been fascinated by airplanes.

Boeing, McDonnell-Douglas, Airbus... they all look the same today. But back in the day, aircraft were as distinctive as automobiles. Lines, curves, shiny, oh my!

Tri-Motor, 1935, Brett Weston

Super Constellation, Randy Efros

The images below were taken on the tail end of a Rod Klukas/Randy Efros workshop in Tucson in 2008. After the workshop was over several of us went over to the Pima Air Space Museum. If you are ever in the area, take a day and visit this amazing museum. Make sure you bring lots of sunscreen and water... it can get really hot there.

Air Force One, Tucson, AZ, 2008, Richard M. Coda

Super Constellation, Tucson, AZ, 2008, Richard M. Coda

Interesting online conversations on "art" and "artists"

2009-12-04T10:17:00.001-08:00

on the Large Format Photography Forum

on The Intrepid Art Collector blog

on A Photo Editor blog

on Joerg Colberg's blog

Pictures from an Exhibition 2...

2009-12-03T18:43:00.000-08:00

My gallery talk at the Phoenix Country Day School exhibit was today. I enjoyed talking with the students, faculty and parents that attended. I have been invited back to do a Photoshop talk next semester with the Advanced Photo students.

Talking with Michael Swingler (Physics) about 8x10" vs. "megapixels"

The lovely Mrs. Michele Coda (left) and friend, Shelly Sherman.

Showing 11x14" contact prints.

Discussing acceptable "manipulation". Michael Pesselato (Art), center-left in blue shirt.

Showing 16x20" enlargements from 8x10" negatives, and discussing
photographing things nearby that are overlooked by most.

Showing an 8x10" negative and discussing my Arca-Swiss 8x10" camera.
Immediately to my left, Dr. Becky Allison (English/Literature) in blue,
and Jenny Treadway (Technology) in peach.

My friend, the Famous Larry Golsh and his lovely wife, Sharon, also attended and took the snapshots. Thanks Larry!

Also, thanks to John Kitts, for quick work on matting many prints and getting them all framed on very short order.

My Colorful Past...

2009-12-01T17:44:00.000-08:00

Actually, I never really got into any trouble...

After hanging my show at Phoenix Country Day School I took a look at the prints. First thing I noticed is that I had never seen so many (32) of my images up at once. The second thing I noticed is that nine out of the thirty-two images were color, and that I could have put many more color images up. Two years ago, this show would have been all black & white. What happened? I guess the blinders were taken off by my mentor, Rod Klukas.

I had never had great success with color before, especially since I am color-blind to an extent. I did have a rare success once in a while, but until I bought my first digital camera I didn't do much color. So I started thinking back about large format-based film color photography that I had attempted in the past. It does exist, and there are a few good images, but they never made it to a print. Partially because the digital revolution hadn't happened yet and it was expensive and a PITA to get color done. So the transparencies sat in a box. Well, I decided to fish them out and scan a few.

Parking Lot, A&P, Paterson, NJ, 1983 by Richard M. Coda

Pt. Lobos, California, 1984 by Richard M. Coda

Jockey Hollow, NJ by Richard M. Coda, late 1980s

It's hard to say if my vision has changed... I know what I am looking at these days is a lot different than what was available to me back then in New Jersey. These are kind of a mish mosh with no real theme other than color. Just thought it would be interesting to look back.

More Inspirations to come soon.

Solo show at Phoenix Country Day School

2009-11-24T18:33:00.000-08:00

I was recently asked to hang a show of my work at my daughter's school, Phoenix Country Day School, in Paradise Valley, AZ, by Michael Pesselato, Art Department head. The exhibit is part of the school's "cultural enrichment" program, where they bring in local writers, artists, and musicians, to expose the students to their work, and hopefully inspire them. I am honored to be the first visual artist in this series. They recently had a professional jazz trio from the Red Rocks Music Festival perform with my daughter's Jazz Combo at lunchtime. The performance was well received and very enjoyable, as well as a learning experience for the band. A brief video is available here, featuring Lindsay on the vibraphone.

The show features 32 images ranging from 1981 to 2009 and from New Jersey, Canada, California and Arizona. I am also giving an artist's talk on Thursday, Dec. 3 at 2:10 in the Hormel Art Center. If you are local and wish to attend, please contact Gina Bridgeman via email as you will need to get a visitor's pass and directions for parking.

I will post photos of the talk when I have them.

Stuffing to die for...

2009-11-23T10:45:00.001-08:00

... well, it might kill you if you dare!

No photo post today... been busy with work and family things.

So, it's Thanksgiving... time to eat!

My father made the most incredible stuffing. Not your typical bread and onions, Stove-top kind of thing. This stuffing sticks to the side of your ribs. In my humble opinion, it actually makes the turkey taste boring. It has three different kinds of meat (well, if you count Taylor Ham, or Trenton Pork Roll as it is also known, as a meat), apples, onion, and seasonings. This is a real "Jersey" strength stuffing. The recipe is old and assumes you stuff the bird, which is not politically correct these days. It can be made in an oven baking dish instead.

Note: It is difficult to find Taylor Ham here in Arizona. The Basha's in Carefree occasionally gets a few rolls in for the snowbirds and I heard there is a place in the southeast valley somewhere that actually carries it.

So, if you're brave enough, here it is. Make sure you make extra... I make enough to last a week after Thanksgiving, and extra giblet pan gravy, too.

WARNING: Please consult with your physician before eating this stuffing if you suffer from high blood pressure, clogged arteries, or other cardio-pulmonary ailments. I cannot be held responsible for health issues aggravated by this stuffing.

Coda Family Traditional Turkey Stuffing

This stuffing is not for the faint of heart. Recipe for ±15-lb. turkey.

Ingredients

6 thick slices Taylor Ham
½ lb. Ground Beef, 85%
½ lb. Sausage Roll
1 Medium Onion
1 Medium Apple
1 lb. Bag stuffing bread
1 large egg
1/4 teaspoon Sage
1/4 teaspoon Poultry Seasoning
3/4-1 cup tap water, room temp.

Directions:

Cut stuffing bread into approx. 1" pieces, place in large bowl

Cut and dice onion and apple, keeping them separate.

Pan fry Pork Roll or Taylor Ham till medium well done, drain.

Pan fry Hamburger until medium well done, drain.

Pan fry Sausage, drain.

When dry, dice Pork Roll into 1/4" pieces.

Crumble chop meat and sausage.

In a large mixing bowl place the cut stuffing bread pieces, moisten with ½ of the water, mix with hands, rubber gloves optional. Add: Pork Roll, chop meat, sausage, onion and apple; knead mixture as if making dough, add remaining water slowly as needed. Add egg for binder, being sure it is well mixed throughout. Sprinkle Sage and Poultry Seasoning to taste (quantities are approximate, but sage can overpower the flavor of the stuffing. When thoroughly mixed, stuffing should be moist, but not overly moist. Form into snowball size balls and stuff cavity of bird, close cavity with pins or string. Any extra stuffing, can be placed in aluminum pan, covered with foil, and baked along with bird.

Note: Be sure cavity of bird is washed thoroughly and salted before stuffing.

Inspirations #19: George Tice & White Castle

2009-11-09T17:32:00.000-08:00

White Castle, Route #1, Rahway, NJ, 1973 by George A. Tice

OK, I have to admit... coming from Jersey I am a BIG White Castle junkie. I can remember my parents taking us to the Castle as children, when they still had car-side service and the burgers were a nickel. In 1982 at college (Rutgers) we used to have "Castle Runs" during study breaks. The Castle was about 10 miles away so whoever had the fastest run for the week got free burgers on Saturday night. I actually made a video of this for a class I took as a Senior. The video was called "Castle Run" and was loosely based on the movie "Cannonball Run". "Video" in those days was Sony Beta 3/4" tape. The camera was huge. Because the camera had to be connected to the actual tape recorder we couldn't take it with us on the run... so we were only able to tape the preamble (ordering) and the actual carnage (eating) after the burgers had arrived. I thought it was missing an external microphone, so I told my roommates that they could say whatever they wanted. Imagine my horror when my teacher said to turn the volume up for my final presentation - it had an internal microphone. At least he had a sense of humor and I got an A. Fast forward and castles became a rare treat. I knew my girlfriend (now wife) loved me when she went to Passaic, NJ to get me a "sack" for my birthday. After marriage we moved to Jackson, NJ and the nearest Castle was 50 miles away. My prayers were answered, but too late, when they built a Castle a few miles from our home just a year before we moved to Arizona. Now, I make my own Castles for Super Bowl every year... but we use filet mignon sliced 1/4" thick, steamed over a bed of carmelized shallots, with Tillamook Cheddar and thinly sliced sweet baby gherkins, on a potato roll. I call them "Chateau Blancs!" Uuu-uum good!

Ah, long live the good old days... it's too bad that everything has to be modernized nowadays. These old White Castles were really interesting architecturally. They are all boring, plain vanilla today.

Anyway, back to photography. If I could add just one photograph to my collection it would be "White Castle" by George Tice from 1973. Aside from the food connection, this is a beautiful example of night photography and the print is luminous. If you ever want to see what a print from a master printer looks like... see a George Tice exhibit.

Chicago Hamburger Company, Phoenix, AZ, 2009 by Richard M. Coda

This was the first night photograph I had taken in almost 30 years. I did pick this particular image as my first due to my fondness for Mr. Tice's image. As did Mr. Tice, I used an 8x10" camera for this. With TMax 400 film the exposure was 27 seconds at f/45-2/3.

This week, my night photography subject will be a Taco stand in color on the 8x10" I can't wait!

Night...

2009-11-09T10:52:00.000-08:00

Turn out the lights and step out into the night
And the world is busting at its seams
And you're just a prisoner of your dreams
Holding on for your life `cause you work all day
To blow `em away in the night
"Night" by Bruce Springsteen

I'm not usually out at night where I have the time to do something for myself, so I have taken the opportunity to try something new. I have been playing around with night photography while my daughter is at her life drawing class. The last time I did night photography it was a failure. There was a total eclipse of the moon and I set my 4x5 up in my parents' driveway (this is a long time ago) and focused on infinity and left the lens open, covering it with the lenscap and making an exposure every few minutes or so... I can't even remember.

Burton Barr Central Library, Phoenix, 2009, by Richard M. Coda

I have always wanted to photograph this unique looking building but never had the time. One night, after an event at the Phoenix Art Museum, which is a block away, I saw it lit up and thought it looked more unique... almost alien-like. I arrived at just the right time... everyone had just left work so there were no cars or light trails to be bothered with. You can actually read some of the book spines in this image! I used the 8x10" camera and TMax400 film. The exposure was 53 seconds at f/32. The hardest thing about night photography is focusing.

Star Spangled Banner, Phoenix, AZ, 2009 by Richard M. Coda

I had passed this very large billboard many times during the day. There is no illumination on the flag side. There are lights on the opposite side, however. This billboard sits on the line inbetween a hair salon and a Chinese Restaurant. When I arrived there was a parking spot in the perfect location to shoot from, which I took. Again, using the 8x10" camera, I wedged my tripod between my car and the car next to me, hoping that the person would not leave soon. This is a very active parking lot at dinner time. Many cars came and left during the time I was there. I had the camera pointed upward so I wouldn't have to deal with headlights coming right at me. Now, as there is no illumination on the flag side this image was extremely hard to focus. After 10 minutes of trying to focus with the light dwindling by the second, I decided to focus on the middle and just stop down. I ended up with an 18 minute exposure at f/45-2/3. I think the image has promise. These are just negative scans. Hopefully I can get to printing them soon and make a really nice print.

I have one other night image but I will keep it for the next post as it is also an Inspirations post.

What's New...

2009-11-03T11:51:00.001-08:00

Haven't been able to post in a while... work is finally getting busy again, thankfully.

I have been able to try my hand at night photography while my daughter is taking her life drawing class at her school on Wednesday nights. I have the 8x10 film developed... just have to scan it to post. Next week I will be trying 8x10 color transparency film at night!

Also a new 11x14 negative. I hope to be in the darkroom printing some time next week.

Stay tuned...

Inspirations #18: Tree Trunks - Albert Renger-Patzsch & Clinton Smith

2009-10-13T17:55:00.000-07:00

Buchenwald, 1936 by Albert Renger Patzsch

I have always been fascinated by tree trunks. For some reason, the entire tree, unless it is the only tree in the photo (as in Ansel Adams' Oak Tree in Snow Storm, Yosemite) just doesn't do it for me. It kind of starts getting too complicated when you introduce the whole tree. I have always loved Albert Renger-Patzsch's Buchenwald, 1936. The first time I saw it was in one of my favorite photo books, Counterparts: Form and Emotion in Photography.

Another tree trunk photo I love is Brett Weston's Beech Forest, Holland, 1971. Although part of the canopy is included, the strength of this photo is the elegant lines of the trunks. They almost remind me of city people scurrying in their hectic lives.

On my first trip to Carmel in 1984 I went to the Weston Gallery. At the time they were exhibitibng Clinton Smith. There was a huge 30x40 color print in the window. It blew me away. The simplicity and the color were just amazing.

Untitled by Clinton Smith

Trees have to be simple and graphic for me. The lines have to be elegant, and more often than not, curved slightly. Maybe that's what attracted me to the Two Trees in Snow, Pompton Lakes, 1984. What happened above the crop just did not interest me. In fact, this is a crop of the full negative.

Two Trees in Snow, Pompton Lakes, NJ 1984 by Richard M. Coda

One of my favorite places to photograph in Scottsdale is the Civic Plaza. The Scottsdale Museum of Contemporary Art is located there. The building is very modern... lots of glass and brushed steel and curved surfaces. This tree is behind the art center along the walkway to the parking garage. Initially the sheen of the metal surface caught my eye. But later I thought more about the curve of the tree. I love the way the dark, crusty curve of the tree trunk counters the smooth, luminous surface of the metal wall and the vertical lines of the metal sections.

SMoCA Tree, Scottsdale, AZ, 2009 by Richard M. Coda

Although my images are of single trees, or at least appear to be single trees, I am still in search of a composition of multiple tree trunks. Hopefully one day I will find them.

But is it really Art?

2009-10-11T09:50:00.001-07:00

I don't think so. Well, my photograph is, of course ;^)

Another of my color shots from last weekend. I took this one for my daughter as she wants to go to art school.

Walk on the Wild Side

2009-10-10T20:55:00.000-07:00

On my recent outing with John Prouty I photographed at the corner of 16th Street and Van Buren Street in Phoenix. Not the best area of town but worth photographing.

I had discovered this a few weeks ago while driving my daughter to a College Fair at the Phoenix Convention Center. They had just repainted the facade of this building and I could not believe the color choices. Dayglo Lime Green and Orange... side by side! I was also attracted to the signage and the windows plastered with newspapers. I told my daughter that I had to photograph this. She begged me to bring someone with me to watch my back while under the dark cloth.

I shot this on the 4x5 with a 450mm lens from across the street. There is a bus stop just outside the frame to the left. There was also what I would assume was a "working girl" waiting for the bus. I would have loved for her to be in the photo but the bus came before I could set the camera up and meter. Oh well, doo, doo, doo, doo, doo, doo, doo, doo...

Guest blog: John Prouty

2009-10-05T17:51:00.000-07:00

John Prouty is a photographer friend of mine here in Phoenix.

By day he is a master woodworker but whenever he has free time he breaks out the 8x10" camera and creates some great photography. John is also an avid mountain climber, having reached the summit of Mt. Rainier twice this summer.

John doesn't limit himself to one particular subject matter and his portfolio is very diverse. Below are some of my favorites, including the "Hole in the Wall", taken in Superior, AZ on one of Rod Klukas' field trips. I have a 16x20 of this in my home. The print has an almost 3D quality to it.

As do all good photographers, John enjoys abstraction, and he is very good at it.

John also enjoys still lifes. Not one of my fortes, but after seeing some of John's work it makes you want to try some. He has a set of prints where he uses old tools and building materials that are very nice. He also puts quite a bit of thought into each composition. The image below is probably my favorite in this series.

Inspirations #17: Edward Weston and the Marx Brothers

2009-10-05T14:21:00.000-07:00

I was out photographing with my friend, John Prouty, this past Sunday morning.

John takes his photography seriously. He is very contemplative in his approach to photography and when viewing photographs. He photographs with 4x5 and 8x10 cameras. I'll post some of his work in a very near future post. Back to Sunday.

We were driving around very early. It was the first "nice" Sunday we've had here in the Phoenix area since the late Spring. The temperature was very comfortable in the morning. I had a few places I wanted to photograph so we went to them while the light was nice. I will post them soon, as well.

On one of our last stops we went to the Rio Salado Habitat, south of downtown Phoenix. This is a revitalized riparian habitat where they have begun to revive the Salt River as it once flowed through Phoenix a long time ago. Most people don't know that Phoenix started out as a riverside community. Once they dammed the rivers upstream to provide drinking water, the river only ran seasonally when they had to release water if the reservoirs approached capacity, which isn't often. They had to do it a summer or two ago. Anyway, there are patches of river coming back to life. At the Central Ave. parking area they have a "pond" next to the lot, I guess for the kids. There are ducks and small fish, maybe frogs. But it looked like it could use some TLC this past Sunday. There was this congregation of broken reeds, garbage and duck feathers in one corner. We stopped to look at it. I took this shot with my Nikon D300 and then decided to go back to the car and get the 8x10" camera. By the time I got back (less than a minute later) the breeze and current from the filtration system had shifted everything and broken the composition. So I have this digital image, at least.

It reminds me of the Edward Weston photograph, Tide Pool, Pt. Lobos, 1945, which I have a gravure of in my home.

Tide Pool, Pt. Lobos, 1945 by Edward Weston

Now, how do the Marx Brothers figure into this? I call the image "Horse Feathers".

I will post large format work from this weekend as soon as I get to process the film and have the chromes done at the lab.

Our Man on the Street: Larry Golsh on Sarah Moon

2009-09-26T09:21:00.000-07:00

Slowly we are receiving more reports from our "Man on the Street" in Paris (even though he's been in San Diego for a couple of months now), the famous Larry Golsh.

This week he discusses the Sarah Moon exhibit at the Galerie Camera Obscura.

Sarah Moon is my most favorite living photographer. I saw her in person for the first time in Paris at her opening at Galerie Camera Obscura.

Larry is a man of few words but he has an impeccable eye for art.

Thanks Larry.

Image accepted to Carmel Art and Film Festival

2009-09-24T11:42:00.001-07:00

Whaler's Cove, Pt. Lobos, CA, 1984, 15.5"x19.5" silver gelatin print

I am honored to have had a print accepted to the Carmel (CA) Art & Film Festival. Through a juried process, 50 artists were selected for a month long exhibition at the Marjorie Evans Gallery at the Sunset Center in Carmel, California. Ten top winners from this group will be given a group show at the FARMANI Gallery, in New York City. One top winner will be featured in ARTWORKS Magazine.

Also accepted was my friend, John Kitts, owner of 422 Gallery in Phoenix. Congratulations, John!

Guilded Dreams, platinum print, by John Kitts

Bosque Reeds, silver gelatin print, by John Kitts

The Photography Show was juried by:

Hossein Farmani is the founder of the Lucie Foundation, and the The Lucie Awards recognizing excellence in photography. He also founded the International Photography Awards, Month of Photography L.A., and the non-profit Focus on AIDS Foundation, just to name a few. Hossein also owns one of the largest private collections of photography in the United States.

Kim Weston is a third-generation member of one of the most important and creative families in photography. Weston has been a fine art photographer for 30 years specializing in large format photography. He learned his craft assisting his father, Cole, in the darkroom making gallery prints from his grandfather’s (Edward Weston) original negatives.

Bruce Haley is the recipient of the Robert Capa Gold Medal, one of the most prestigious photography awards in the world. Haley received this honor for his coverage of Burma‘s bloody ethnic civil war. He was nominated for a Pulitzer Prize by the Baltimore Sun, for helping to break the story of the famine in Somalia.

The Opening Reception is Thursday, October 8, 2009 at 5:30 PM. If you are in the Monterey Peninsula area, please stop by and enjoy the show.

InFocus: Face to Face at Phoenix Art Museum

2009-09-24T10:09:00.001-07:00

Last night I attended the first official event sponsored by InFocus, the Photography Support Organization at the museum. It featured a talk by Dr. Rebecca Senf, the Assistant Curator at the Center for Creative Photography in Tucson. Also in attendance from the Center was Linda Truesdale, Director of Development.

Dr. Rebecca Senf leads a discussion on photographic portraiture.

Among topics discussed were the stories portraits can tell, the ways photographers convey the essence of their subjects and the impact of the relationship between photographer and subject. Including nearly 60 portraits from the Center, as well as key loans from a few local collections, the exhibition raises engaging questions:

New York City, Gary Winogrand, 1968

How does a portrait become iconic?
What is unique about a photographic self-portrait?
What are the advantages of working in the studio, or in the field?

Alfred Steiglitz, by Paul Strand, 1924

How do photographers use setting, pose, camera angle, or scale to add meaning to a picture?

Prints by some of the greatest portraitists and photographic image-makers of the 19th-, 20th-, and 21st-century are included: Southworth and Hawes, Gertrude Kasebier, Edward Weston, Dorothea Lange, W. Eugene Smith, Ansel Adams, Diane Arbus, Yousuf Karsh and Richard Avedon.

Bob Dylan, by Richard Avedon

Our friend, Randy Efros, Brett Weston's last assistant.

A private reception for InFocus members followed.

Photographers Randy Efros and John Prouty

The exhibit continues through January 10, 2010 in the Norton Photography Gallery at the Phoenix Art Museum.

Inspirations #16: Vincent van Gogh, Sunflowers

2009-09-19T18:37:00.000-07:00

Vase with Twelve Sunflowers, c.1889, Vincent van Gogh

Vase with Five Sunflowers, c.2009, Richard M. Coda

Taken at Juan Garcia's opening at Photomark.

But I could have told you, Vincent,
This world was never meant for one as beautiful as you.
Don McLean, Vincent

Juan Garcia Exhibit Opening at Photomark

2009-09-19T18:15:00.001-07:00

This past Friday I attended the opening reception of my friend, Juan Garcia, at the gallery at Photomark in Phoenix.

Juan is a great friend and photographer. He is particularly drawn to historic mining murals found throughout the mining towns of Arizona, including Superior, Globe, and Miami. His detail shots of these large murals, which are basically outdoor frescoes, serve as a record of the hard life these miners lived, and as a reminder of the glory days of these towns. Most of the murals are in varying states of disrepair currently. Most of the mining towns are just shadows of the bustling boom towns they once were... which is also a blessing in disguise for photographers.

Juan exhibited nine 16x20 prints which all worked very well together as a group. I hinted that this would make a great portfolio in 8x10" size.

Juan Garcia, Sue Reynolds, and Randy Efros

Juan talking with his mentor, Randy Efros, Brett Weston's last assistant

Juan talking with gallerist John Kitts and his wife, Lani.

From left, John Prouty, Tammy Cowden, Juan Garcia, Mr. & Mrs. Larry Slater

Larry Slater saving the moment on his iPhone

Dead Snake in the Road...

2009-09-11T06:19:00.001-07:00

Hail to the Chief, Richard M. Coda, 2009

You know the old joke about the difference between a dead snake in the road and a dead lawyer in the road...

Inspirations #15: Joel Meyerowitz

2009-09-11T05:59:00.000-07:00

North Wall, Joel Meyerowitz, 2001

911 Saguaro, Richard M. Coda, 2009

Inspirations #14: Jackson Pollock

2009-08-23T20:04:00.000-07:00

Number 8, 1948, by Jackson Pollock, oil on canvas

My daughter was taking an art class at her school on Saturdays earlier this year. I would drop her off, go get some coffee and visit with Rod Klukas at the camera store, then go out and photograph or scout for a few hours until I had to pick Lindsay up. One Saturday I noticed this large painting in one of the art classrooms. I asked Mr. Pesselato about it and he explained they were doing an homage to Jackson Pollock in the Art Club. I thought it was pretty interesting and asked if I could photograph it, to which he agreed.

I spent about an hour and a half photographing it, using a Nikon 120 Macro lens on my 4x5" camera with Velvia 50 so I could get up close and personal. These are all really small snippets of this large painting. Even in this small area the complexity is incredible. I made six images that morning and this is the first one I have scanned. I will post the rest when I have them scanned.

The colors are intense and the abstraction is reminiscent of Brett Weston or Aaron Siskind. Earlier in my photographic career I would have photographed this in black & white. But now, with my new appreciation and understanding of color this was the ONLY way I could photograph it today. I even tried converting it to black & white in Photoshop and it did nothing for me.

Art Club #1, 2009, Richard M. Coda

Below is the original and complete painting by the Art Club of Phoenix Country Day School. It is at least 4x8 feet in dimension. This is actually an Inspiration once removed... the Art Club was inspired by Jackson Pollock, and I was inspired by the students at PCDS. Thanks kids!

Art Club Spring 2009, Jackson Pollock Exercise, acrylic on paper, 48x96"

Inspirations #13: Josef Sudek

2009-08-18T09:23:00.000-07:00

Unor meho atelieru (February from the window in my studio), 1948 by Josef Sudek

Josef Sudek was born in Czechoslovakia in 1896, the same year as my grandfather. He began photographing in 1913. He was originally trained as a bookbinder and, ironically, his younger sister went into photography, but he had a become a keen amateur photographer before being called into military service in the First World War in 1915. He was wounded in the years that followed, requiring that his right arm be amputated. Despite this handicap, he continued to photograph for more than 50 years with mostly large format cameras. I don't ever want to hear another large format photographer complain about the weight of their cameras!

Mé okno, 1952 by Josef Sudek

Sudek's photographs are often dark and mysterious, bordering on mystical, yet they contain beautiful tones despite the limited tonal scale. As he had only one arm he preferred contact prints, and his images are prized for their delicate beauty. His work was often very personal with subject matter that was close at hand, such as the window from his studio, or still lifes composed of common kitchen and household objects, although he also made beautiful landscape and cityscapes of his native Czechoslovakia. He became known as the Poet of Prague. Josef Sudek died in 1976.

In 1985, we had a nice snow storm in January. My parents' house, built in the late 1950s, did not have the windows we are used to today – energy efficient, double (or more) paned – just plain ol' plate window glass. When it snowed, or was humid there was often condensation on the insides of the windows. I became entranced by the mystical quality of the background imagery through the sweating glass.

I made these two images with my 4x5 camera in my bedroom. I have printed them at 11x14, but much prefer the 4x5 contact prints.

Window #1, Pompton Lakes, NJ, 1985 by Richard M. Coda

Window #2, Pompton Lakes, NJ, 1985 by Richard M. Coda

Inspirations #12: Walker Evans and Eleven:Fourteen

2009-08-14T18:57:00.000-07:00

Tin Building, Moundville, AL, 1936 by Walker Evans

I remember the first time I saw this image at the Witkin Gallery in New York back in the Early 1980s. The tones and unending vertical lines mesmerized me. I wish I had the few hundred dollars it cost to buy an original (not Library of Congress) print back then, but fresh out of college equals fresh out of money!

Walker Evans did a substantial amount of work in Moundville, Alabama back in 1936 for the Farm Security Administration enacted by FDR during the Great Depression. There are so many great photographs from this town it would be interesting to go back and see what it is like now. It would be even better if the current administration would fund it, but of course, they find it more important to spend unGodly amounts of money elsewhere.

William Christenberry did just that in the 1960s through the 1980s. He grew up near the area and became fascinated and inspired by Evans' work capturing the "ordinary" scenes in rural Alabama. This work eventually became a traveling exhibit, a book, Of Time & Place, and even was interpreted by Christenberry as sculpture. If you can find the book, published by the Friends of Photography, pick one up - it's a good read. I have a copy in my library.

Rick's Hitch Works, Phoenix, AZ, 2009 by Richard M. Coda

On many of my Sunday morning photo jaunts I would pass this place on Van Buren Ave. at 20th Street in Phoenix. Unfortunately, behind chain link fence, barbed wire and dogs, this place was never open. In late May 2008 the light was perfect... the sun was in front of the building and early in the morning it raked across the corrugated aluminum facade perfectly. I desperately tried calling to see if I could get permission to photograph the building, but no one ever answered or returned my message. I marked it down in my calendar to try again in one year, May 2009.

I happened to be in the area on a Saturday after I dropped my daughter off at her art class and noticed that the gate was opened. I had the cameras and I was ready. I went in where it says "Office". There was nothing but junk in there. I came out and went into one of the other businesses that share the parking lot. There was this old guy sitting at a computer, smoking a cigar and surrounded by dogs. I asked him nicely if I could photograph the building, explaining my big cameras and all. He wondered why I would want to take a photograph of that "old thing". He mentioned they had been thinking of tearing it down to make more room. Thankfully, he allowed me to photograph it.

I used the 11x14" camera on this and the contact print is just beautiful with creamy light tones and the beautiful vertical shadows. I am very happy I was able to make this image before Rick's disappears into history, just as Moundville has.

Eleven:Fourteen - I'm Soooo Tired...

2009-08-14T18:18:00.000-07:00

...I haven't slept a wink (John Lennon, The White Album by The Beatles)

Tires, Phoenix, AZ, 2009 by Richard M. Coda

I haven't slept a wink since I printed this new 11x14" negative!

I saw this on one of my Sunday morning photo runs a couple of months ago. I had passed it one morning but did not have the 11x14" camera with me. Went back the next weekend with a friend and photographed it.

As soon as I saw it I knew it had to be taken on the 11x14. It was a wall of old tires, about 10 feet tall and maybe 150 feet long, lining an alley near Broadway and 7th Street in Phoenix. I found the lines fascinating. And the deep, dark tones highlighted by the faded rubber and occasional white paint sealed the deal.

The detail in this simple image is amazing. 154 square inches of film (assuming a native film resolution of 5000 dpi) means that there's 3.85 GIGABYTES of information in an 11x14 negative. This little digicam snap of the print does not do it justice.

I'm finding that size DOES count. After using my 4x5" most of the time from the early 1980s until a few years ago, I had recently standardized on 8x10". Since getting the 11x14" camera I find I want to use it most of the time, but economics dictate otherwise!

I'll have another new 11x14" contact print to post this weekend as part of another Inspirations post.

New book by Harlan Nelson on blurb.com

2009-08-04T10:10:00.000-07:00

My friend Harlan Nelson has published his first book, titled, Traces of a Culture.

Harlan is originally from North Dakota, and after retiring in 1998 he began photographing the area in which he had grown up. The book also contains historical facts and interviews with residents and their descendants. Harlan has shown many of these photos at our Imageworks meetings, usually with "colorful" commentary about the people from this rugged area of the country.

The 440 page book is available on blurb.com and is available in both softcover and hardcover.

InFocus Fundraiser a Success!

2009-08-04T09:49:00.001-07:00

The fundraiser for InFocus, the new photography support group of the Phoenix Art Museum, held on August 1st was a big success!

The show was well attended, and all thirteen of the photographs donated were sold during the silent auction. In attendance were Jim Ballinger, director of the Phoenix Art Museum, and his wife, Linda, Annie Waters, a noted Phoenix artist, and many other patrons of the Phoenix art scene. The auction brought in just under $2800 for the fledgling group.

There are several upcoming InFocus events being planned, including an exhibit of photographs by Randy Efros and John Kitts. Look for more details here as they become available.

From left: Randy Efros, Jim and Linda Ballinger, John Kitts

From left: Contributing photographers Judith Andersen, Joyce Bealer and John Prouty.

Reminder: InFocus Benefit Saturday, August 1

2009-07-31T10:51:00.000-07:00

Just a reminder that the InFocus benefit at 422 Gallery is tomorrow, Saturday, August 1 from 6:00-9:00 PM. The images for up for silent auction will be viewable from 12 Noon, in case you already have plans for the evening. Opening bids start at $100, except for the Kim/Edward Weston image, which starts at $500. Refreshments will be served. Call John Kitts of 422 Gallery at 602-670-1342 for more information.

License Plates and Signs, Hackberry, AZ, 2008 by Richard M. Coda

Spring, 1943, Negative by Edward Weston, Print by Kim Weston

InFocus Fundraiser Exhibit and Silent Auction - August 1, 6:00 PM

2009-07-24T11:15:00.000-07:00

422 Gallery is hosting a fundraiser for IN FOCUS on
Saturday, August 1, from 6:00 to 9:00 p.m.

IN FOCUS is the dynamic new photography support group
of the Phoenix Art Museum.

The fundraiser will feature a silent auction of a dozen
fine photographs donated by some really great
photographers along with a framed Edward Weston
photograph printed by Kim Weston.

Preview and bidding are available anytime after noon.

The silent auction photographs are 4” x 5” to 8” x 10”
in size and bidding starts at $100.

Photographers donating prints to the auction:

422 Gallery is located at 4115 North 44th Street, Phoenix.

Refreshments will be served.

Please call 602-670-1342 with any questions.

Uncle Floyd's New Jersey

2009-07-23T06:27:00.000-07:00

For those of you not familiar with New Jersey, there was a phenomenon back in the 1970s and 1980s called "The Uncle Floyd Show". It was on PBS (for a while anyway), usually after school. To the innocent bystander it appeared to be a children's show, but to the aficionado it was pure adult comedy and satire. They covered topics from entertainment to politics. I watched it when I was in high school. I went to William Paterson my first year of college and some of the cast were continuing students there and you'd regularly see them at the school pub. When I went to Rutgers (in New Brunswick, New Jersey), no one had ever heard of Uncle Floyd. Until I met Charlie Belunis. He was the only one I ever met at RU who was clued in. We started a Rutgers Fan Club (because college students have nothing better to do). Uncle Floyd used to have a segment at the end of each show called "Pictures on the Wall". It was kind of like a refrigerator on TV, where he would post drawings sent in by children from all over NJ. One day, Charlie drew a great impersonation of a child's drawing and sent it in. Imagine our surprise when it was featured in the segment, signed Charles Belunis, age 18!

Anyway, I was thinking about my home state the other day and wondering if Uncle Floyd had done anything since the glory days. He is a great Vaudeville/Honkytonk piano player and he is always found playing at a club or restaurant somewhere deep in the heart of Jersey. I found this clip of a series that I had not heard of before, called "Uncle Floyd's New Jersey". I guess once you get a job after college your priorities change. I found it fascinating for I had no idea of the diversity in places like Paterson, and the relative peace within that diversity. Nothing like we have today. Ah, the good ol days.

Uncle Floyd's New Jersey-Main St., Paterson

There are several other episodes available on YouTube. Check them out.

Our Man on the Street...

2009-07-20T10:33:00.000-07:00

We have decided to spare no expense to bring you coverage of fine-art events around the globe.

This summer we rented a house in Paris, France and sent our "Man on the Street", the famous Larry Golsh, there for six weeks to report on the Paris art scene. Upon his return we will put him up in a luxurious condo on the 22nd floor in San Diego until we bring him back here to Phoenix in October.

Here's Larry's take on the Warhol exhibit at the Grand Palais.

Just going to the Grand Palais in Paris is a great experience, the building is one of the most beautiful I have visited. The Warhol exhibit is spectacular. The paintings took on a new international look for me. For the first time I realized how important photography was to Warhol. My favorite works were the self portraits and the floating silver clouds.

And what trip to Paris would be complete without visiting the Louvre? Unfortunately the place was mobbed and we weren't able to get many photos as shown here.

During his four month stay in San Diego, Larry will be reporting back to us on the San Diego and Los Angeles art scenes.

Eleven:Fourteen

2009-07-13T12:55:00.000-07:00

Mural, Superior, AZ, 2009, 11x14" silver gelatin contact print, Richard M. Coda

My first 11x14" contact print! The detail in this image is incredible and clearly cannot be appreciated in this web scan.

I really like working with this format. It's a little cumbersome when exposing the negative, but everything after that is standard operating procedure. I process the negatives one at a time (for now) in a Jobo 3062 drum with no insert, using one liter of chemistry per sheet. The negatives themselves are something to behold. I remember when Randy Efros showed us one of Brett Weston's 11x14 negatives... all I could think of was making my own. Last week I printed my next two 11x14" images. Once I dry-mount them I will photograph them and post them here.

I plan on selling my 11x14" contact prints as limited editions of 14 with 3 artist's proofs. Pricing will start at $400 ($200 below my regular price for 11x14" enlargements) for the first four prints. Prints 5-10 will be $500 and the last five prints will be $750. Buying early in the edition is encouraged.

These images may also end up in portfolios of 11x14" contact prints at a later date, but they will be denoted as such.

A visitor! Hoo could it be?

2009-07-13T12:17:00.000-07:00

After dinner Sunday night I looked out the back window and couldn't believe it. There was a Great Horned Owl sitting on our fence. As I'm sure you all know, owls are usually noctural, so it's rare to see them at this hour of the day, especially in a populated area.

Anyway, I took about 60 or so shots with the D300 and a 300mm lens.

UPDATE: Tonight after dinner I heard an owl "hoot". I look out my office window and there it is just setting down on our back fence again. As soon as I saw it, it flew away. Then I go into the kitchen and see another one, much larger, sitting in our pool on the first "step". I open the back door to get a better view and I see the other one fly off our roof. We must have a mating pair who like our house. I hope so... they can take care of the field mice and chipmunks who leave their business all over the place out here.

New photo, July 14...

Lindsay's debut exhibit at SuVino

2009-07-13T12:06:00.000-07:00

Lindsay and I had our artist's reception at the Su Vino Winery show last Thursday. The owners were very pleased with the show, especially Lindsay's work. I gave her the prime wall spots at the end of the bar. A lot of people showed up, but as it was about 110 degrees outside and it was also the 20th Anniversary of the Summer Artwalks in Scottsdale, most of them were looking for free door prizes. Many members from Imageworks showed up and we thank them for their support.

Lindsay's paintings in the prime location.

My friend, Juan Garcia, also an accomplished painter, talking about painting with Lindsay.

Lindsay and her artwork.

Lindsay and me. (Thanks to John Prouty for this one.)

The show is up until August 4th. If you are in the area, please stop by and let us know what you think. As it will be hot for a while, why not order a flight of wine while you're there! Su Vino is located at 7035 E. Main Street, Suite 110,Scottsdale, AZ 85251 (480) 994-VINO(8466).

Father and Daughter exhibit at SuVino Winery - July 9

2009-07-07T07:16:00.001-07:00

I will be exhibiting with my daughter, Lindsay, at Su Vino Winery in old town Scottsdale from July 9 through August 4, 2009. There will be an opening reception on Thursday, July 9 at 7:00 PM. This also coincides with the 20th Anniversary of Scottsdale's Summer Artwalks and there will be food and music at many galleries.

This is Lindsay's first exhibit (outside of school) and she is very excited. If you are in the area, please stop by and support her.

Su Vino Winery is located at 7035 E. Main Street in Scottsdale (at Marshall Way). Their phone is 480.994.8466.

Inspirations #11: Warhol

2009-07-03T19:45:00.001-07:00

Gale Smith, 1978, Andy Warhol

When I was a senior in college I found a book at the Whitney Museum in New York that I became fascinated with. Andy Warhol: Portraits of the 70s. It was the companion book to the exhibit at the Whitney several years earlier. In particular, the image of Gale Smith reminded me of my girlfriend at the time, Sharon.

As I had started working with a 4x5" camera at this time I wondered what would happen if I shot with litho (film that printers used to make plates for printing presses) film. Litho film is inherently high-contrast but it can be tamed to a certain extent by use of low-contrast developers. So, I asked Sharon if she would pose for me and she agreed. I developed the film in Dektol, Kodak's basic print developer. The negative is high-contrast but still has a soft edge to it. I made a print on Grade 5 paper and hand colored it using food coloring and PhotoFlo. The result is below.

Sharon, 1982, Richard M. Coda

Now, this is SO easy to do in Photoshop or Photo Booth today that it's not even worth mentioning, but it was fun way back when.

When school was out I asked my brother and sisters if they would pose for me so I could do something similar as part of a gift to our parents. Below is the result.

Inspirations #10: Water from a Stone...

2009-07-03T10:06:00.000-07:00

Well, they say you really can't do that.

Anyway, BIG STONES and BIG WATER are always inspiring, especially to photographers. Lately I have found myself yearning for landscapes... I don't know why. Maybe, as I approach 50 (T-minus 1 year) I am seeking some sort of solace from the continuous stream of depressing news that Man generates on a daily basis.

This image, Lake Tenaya, 1946, by Ansel Adams (and a similar image by Edward Weston from 1937, below), has always been one of my favorite landscape images.

Lake Tenaya, 1946, Ansel Adams

Lake Tenaya, 1937, Edward Weston

I haven't taken any landscapes in quite a while so I went through some older negatives that I had never printed in preparing for a print session I had yesterday. After I finished printing new work I went for this negative, which I took on my honeymoon at Jasper Park Lodge in Jasper, Alberta, Canada in 1990. This was a view of Maligne Lake. I made an 11x14 print that I think is very beautiful.

Maligne Lake, Jasper, Alberta, Canada, 1990, Richard M. Coda

After making the print I also remembered a print that I have from my friend, Jody Forster.

Painted Cliffs, Apache Lake, 1980, Jody Forster

Mt. Jordan and Lake Reflection, Sierra Nevada, CA, 1999, Jody Forster

There's a dimensionality in all of them that's just contrary to the fact that they are two-dimensional photographs. These images are so beautiful that sometimes I feel like I could cry. Maybe you can get water from a stone!

Coming Soon!

2009-07-02T21:10:00.000-07:00

New work... and old work. I have been developing lots of new negatives the past two weeks and even a few old (undeveloped) negatives from the "vault". I also had a print session today... very productive. Six new 11x14" contact prints (2 images, 4+2), three new 8x10 contact prints, and three old 4x5" negatives that I had never printed before. Also, look for a few new "Inspirations" posts soon.

Happy Independence Day!

The Greatest!

2009-07-01T19:05:00.001-07:00

It's [a] great country isn't it? No, I mean country music.

My 14 year old daughter has recently become very fond of "country music". I explained to her that she should listen to BOTH kinds of music... country AND western ;^) Anyway, the stuff they call country music today is not country... it's formula. They all sound the same... they all look the same... and I know it's always been like that, but true country music is about some guy with an out of tune guitar, singing about how he's lost the girl of his dreams, with lots of twang and angst in his voice.

Lindsay called me from Providence, Rhode Island last night where she is visiting Rhode Island School of Design (we are scouting art colleges... her school told us we should start sophomore year... it was junior year at the earliest when I was in high school). I was in the car driving to a jazz concert when she called. When the call was over I heard the Rolling Stones' "Far Away Eyes" on the radio. I have always told her that this is the Greatest Country Song ever recorded, with all due respects to the greats of the past, including Johnny Cash.

My wife grew up in an Italian/Jewish family in Brooklyn/Staten Island. My in laws used to affectionately call me a "hick" and said that I grew up in Mayberry (actually Pompton Lakes, NJ). They asked what we used to listen to as kids. They used to listen to Perry Como. I told them we listened to Johnny Cash. We also used to watch the bullfights on UHF/VHF from Mexico City every Sunday night... video snow and all. They said that I had no class. I beg to differ. :^)

I firmly believe that rock n roll died in 1978. This album [Some Girls] was the last great rock n roll ALBUM ever made. Nothing since can be considered a great ALBUM. I even have the original LP, with the cover before they recalled it because they didn't get permission to use some celebrity portraits.

So, what do YOU think is the GREATEST? Pick a topic... I don't care [my picks]...

Greatest Album [tough one... Chicago VII, Sgt. Pepper, Revolver, The Doors, LA Woman, Dark Side of the Moon, Wish You Were Here, Aqualung, Songs from the Wood, Brain Salad Surgery, Fragile, Can't Buy a Thrill, My Favorite Things, Kind of Blue, Rodeo...]
Greatest Song [tie, Hoedown, Aaron Copeland (incl. Emerson, Lake & Palmer's version); LA Woman, The Doors... with all due respects to my old friend Don Karten who said that Layla was God's favorite song]
Greatest Photograph [Pepper #30, Edward Weston]
Greatest Photographer [Edward Weston]
Greatest Artist [Vincent van Gogh]
Greatest Band [The Beatles]
Greatest anything... I'd like to hear from you.

Stop the Pigeon!

2009-06-29T08:22:00.000-07:00

That was the theme song from one of my favorite cartoons as a kid... Dick Dastardly and Muttley in Their Flying Machines. They were always trying to stop the carrier pigeon from delivering his message. (Funny how Dick Dastardly looked and sounded a LOT like Snidely Whiplash!)

Well, it seems that the Pigeons were on to something. The elite "art" community has been desperately trying to keep this hush hush for fear that their cover will have been blown.

http://www.ncbi.nlm.nih.gov/pubmed/19533184

Now if they would only hire pigeons as art critics. Or, better yet, have pigeons teach art, then there would be no need for critics.