Inspirations #31: Frederick Sommer

Frederick Sommer once stated, "Climatic conditions in the West give things time to decay and come apart slowly. They beautifully exchange characteristics from one to another."

I have always admired the photographic work of Frederick Sommer. Early in my photographic career I tended towards landscapes. Over time I became disenfranchised with landscapes, too often, just pretty pictures. After seeing the work of Edward Weston for the first time, my eyes were opened up to the possibilities presented by photographing “that which has been overlooked, forgotten, or looked at, but not seen.” Mr. Sommer also had this revelation after seeing Weston’s work, albeit 50 years before I had seen it.

Some of his most noted photographs are of weathered carcasses of desert animals near his home in Prescott, AZ. However, these images were sometimes not popular with the general public.

Jack Rabbit, 1939, Frederick Sommer

Coyotes, 1945, Frederick Sommer

After moving to the Arizona myself in 2005 I became aware of the brutal life cycle of the desert. On many of my walks I would spot something that had been run over by a vehicle… snakes, birds, lizards, rabbits. I was amazed that after repeatedly being crushed by heavy motor vehicles that the remains almost become part of the road. When the carcass was easily removed from the road surface I would collect them and bring them home, keeping them in the garage, much to my wife’s dismay. After collecting several specimens over several years, and recently putting our home up for sale, my wife gave me an ultimatum, “Get rid of those things, or photograph them, and then get rid of them!” And so, I did.

 Baby Bird, 2013 © Richard M. Coda

 Lizard, 2013 © Richard M. Coda 

 Rabbit, 2013 © Richard M. Coda 

 Rattlesnake, 2013 © Richard M. Coda 

 Baby Rattlesnake, 2013 © Richard M. Coda 

 Snake, 2013 © Richard M. Coda

These images will be part of an ongoing project called “Crushed”… animate and inanimate objects that have been crushed by motor vehicles. These objects would include the ubiquitous aluminum can, in all its various permutations, signs, bottles, you name it… if it can be crushed by a car, I will photograph it.

Inspirations #30: Grandma's Curtains

Well, it's been a long time since my last post... been real busy with work. Not much time for photography... you know the drill. Anyway...

I had the opportunity to use my large format cameras only 4 times in the past 15 months. Once on a field trip with Rod Klukas to Sedona. Once to drop my daughter off at college in Pittsburgh, and twice during the Spring when my wife had some church gatherings to attend. On one of these gatherings I used the time to photograph the Tempe Mill – a place I had been wanting to photograph for a few years now.

I only had an hour and had to park a few blocks away. I carried my 4x5 small bag (I also have a large bag which I left in the car), tripod, vest and film the three blocks and set the camera up. After setting the first shot up I realized that I had left my light meter in the large bag... which was still in the car. Rather than tear everything down, go back and get the meter, I decided to see if there were any light meter apps available for the iPhone. I was lucky and there were two. I downloaded them and, after 15 minutes of trying to figure out how they worked, came up with an exposure. The exposure "seemed" to be accurate so I went with my instincts and made the exposures.

One of these exposures caused me to have a flashback to 1983 and my grandmother's house. I had gone to visit my grandparents, who were in their late 70s and early 80s at the time, and to take their portraits with my 4x5" camera. I also took a photo of their curtains, which had a soft, glowing quality (or "glowacious" as Randy Efros relayed to me how Brett Weston used to say) to them. Anyway, after seeing the negative from the Mill after development I immediately went to find the negative from Grandma's house some 20 years ago. The results are strikingly similar even though one is made of concrete and over one hundred feet tall, and the other is made of linen and a only few feet tall.

Tempe Mill, Phoenix, AZ, May, 2013 © Richard M. Coda

Grandma's Curtains, Maplewood, NJ, 1983 © Richard M. Coda

Blurb Book Sale - Ends Dec. 2, 2013

Blurb is having a sale until Dec. 2...

Get 30% OFF the hardcover edition of my book, Primordial:2010 - Photographs of the Arizona Monsoon
Use code: CYBER1
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or

Get 25% OFF the softcover edition
Use code: CYBER2
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Of course, signed/numbered limited edition hardcover books with foil stamp AND an 11x14" signed/numbered/matted print of the cover image are available here:
http://www.rcodaphotography.com/primordial/book/

Portraits of my Father

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

Location and Date Unknown

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

My Weekend with Marilyn...

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?

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!

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

Click on the image for an animated version.

Vdara Hotel, Las Vegas, NV © 2010 Richard M. Coda

Inspirations #29: Henry Gilpin, 1922-2011

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

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

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

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.

From Chase Plaza, Phoenix, AZ © 2011 Richard M. Coda

Dodge Building Reflections, Phoenix, AZ © 2011 Richard M. Coda

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!

Sunset and Thunderstorm, Black Mountain, Cave Creek, AZ, © 2011 by Richard M. Coda

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...

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

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...

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.