The Online Photographer

Back to the Gallery build...

The painter did the ceiling yesterday. Took about an hour to spray it a flat gray called "Software" (must be a sweet job, "paint color namer.")

But there was a problem. Three hours later, the paint was still wet.

The reason? Shed's too tight. You put two gallons' worth of moisture into the air and after it loads the air with humidity it's got nowhere to go. The insides of the windows were wet with condensation.

And it was too cold in there, too. By then it was 38°F (3.3°C) outside and inside.

So I drove up to Tractor Supply and bought two ceramic space heaters (because one just seemed like it would be too weak). It was dark by that time. Put them inside the shed and turned both up to high, and went inside for an online meeting.

It was two hours before I got back outside, and guess what the temperature was inside the shed by then?

EIGHTY. 80°F! That's 26.7°C. After only two hours with two space heaters on! Man, Tyler the insulation guy was hardly joking when he said I'd be able to heat with matchsticks. Oh, and the air was much less humid by then and the paint was drying nicely. 

Drywall is next
To leave it overnight, I turned one of the space heaters off entirely. Here's a snap of the little $13 space heater that remained on, so you can see what we're talking about:

More to the point, here are the settings I left it on overnight:

And in the morning, with an outside temperature of 36°F and after a whole night in the 30's, with only that one little space heater for heat, the temperature in the shed was a comfortable 65°F (18.3°C).

Pretty dramatic, don't you think? At this point, I'm thinking the eight-foot baseboard unit we have planned might be overkill.

By the way, when they build whole houses this airtight and well insulated, they have to install air-exchange ventilating systems. Here's a link to a long video explaining one such unit (a Zehnder) in detail, in case you happen to be curious. With a single-room shed, air exchange will happen naturally with opening and closing of the single door to the outside, perhaps with a little help from the fan in the air conditioner. I'm going to have to keep an eye on it, though. This little building is as airtight as a bottle with a cork in it.

Anyway, the drywallers are in there now, my pool-team friend Charlie and his brother and their father. I'm inside staying out of their way.

I put the wires for the stereo in the wall right before they got here, so they can get covered up by the drywall.

That's the update for today, but check out the nifty pool table light I scored on Craigslist (seller's photo):

Handsome, eh? My friend Eric (the ceiling painter) and I have to drive to Buffalo to get it next week (it's a little too big for my back seat). I was going to build my own pool light, but when I saw this one I decided to go for it. It wasn't expensive. The owners just moved, and don't need it any more.

Mike

UPDATE Wednesday evening:

This picture shows you three significant things—the drywall up and taped; the two wire "tails" coming out of the wall where the stereo speakers will be; and, out the window, my other shed...which is what gives me that darned nickname...(see below...).

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

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Paul Martini, Bluff, Utah:

Christer Almqvist: "Be careful. The humidity is still in there. What was on the walls and on the on the inside of the windows when the indoors temperature was low is still inside the shed, only it is in the air and not on the walls when the air temperature is higher. Warm air can hold much more humidity than cold air. You can get the humidity out by letting (dry) cold air in and warm (wet) air out just by opening the door. Still better is two openings on opposite walls. (Called durchlüfteten in German, and is one of the methods to keep COVID out of the house). Do not keep door/window open longer than it takes to change the air. Do not let the walls get cold. And read up on absolute and relative humidity. Get a hygrometer. Avoid condensating humidity at all cost; the long term negative effect is not to be taken lightly. Healthwise, and financially."

Rob Spring: "Unless you ventilate the moisture will not leave. Warm air holds much more water vapor than cold so all you did by heating up the room was to drive the water from liquid to vapor. Be sure to crack some windows and try to induce a way for the moist air to exit the building. If you don't move that moisture out you will be in a situation where the vapor pressure in the building is significantly higher than outside. The moisture will find every crack and gap in your insulation system and believe me there are some. I have inspected many foam insulation installations like yours with an infrared camera and I have never found one that did not require quite a bit of touch up. There is no free lunch with energy. Super insulate with no air flow and moisture levels will rise. A dehumidifier may be your best option."

Mike replies: I'm all over it. This was in the barn, left over from my days in Waukesha, where the basement flooded two or three times a year.

Dan S: "So here’s a little secret about electric heaters: They are all the same. Regardless of the shape or size, their BTU output is limited by your home electrical system. There are numerous YouTube videos that explain this, but suffice it to say, it’s not the size that matters."

Mike replies: Well I'll be darned. I had actually noticed that, that every space heater in the store seemed to be 1,500 watts. (Link above in Dan's comment added by me.)

Zack S: "Did you include air conditioning in the build? Did not see that mentioned in your posts about your saga."

Mike replies: Yes, it'll get a small window air conditioner next Spring. There's a separate 20-amp circuit from the breaker panel.

Akhil Lal (via email): "Read with much interest your ongoing story re your new shed.

"Just curious, did you gave any thought to the possible outgassing of organic vapour from the closed cell foam insulation and its  long term health effects?"

Mike replies: It's difficult to research. Almost all the available data on safety is centered around application and the dangers during and immediately after application; SDS's (Safety Data Sheets) on some (not all) the constituent chemicals (and little on the two components after they're mixed); and cases of improper installation (which can be a nightmare—imagine having large swaths of your home slathered in glue and then finding out it's toxic and needs to be removed. There are cases where improper or inept application essentially ruins existing homes). 

Data about the safety of properly applied, good-quality spray foam insulation after it's in place is not easy to find. I've reached out to the EPA and to a green building specialist company for further links. We'll see what comes from that. 

The green building specialist claims on its website that over 85,000 materials and chemicals are using in building, overall, and that only 5–10% of them have been adequately studied for occupant safety after they're installed. 

Speaking of insulation, air seal is an important aspect of insulation (how can a house be efficient if air leaks in and out?), but if the house is really tight then it needs managed ventilation like an air-exchange system.

If you want to see something really cool, check out the following video. And get a load of his ventilation room! Awesome. This Baczek-designed passive house provides all its own power and enough electricity for the electric car. No energy costs, and net negative energy consumption.

Very interesting. Incidentally, that's my kind of luxury: If I had enough money to have my way, I'd rather have that house than a big sprawling show-off house that's inefficient and squanders lots of energy. (Not criticizing anyone for their choices, just talking about what appeals to me.)

Mike

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This is so off-topic. Sorry.

But it's quite interesting. After watching the insulation go into my shed on Friday I read up on closed-cell spray foam insulation and watched a few videos. It's pretty fascinating stuff—at the high end of insulation materials for performance, but also for cost.

To begin with, it's very good insulation, coming in at at R7 or R8 per inch. It also expands to fit the cavity it's sprayed into such that it becomes a very good air seal. It's good at keeping out insects and rodents. It's fire-resistant, although not as good in that respect as Rockwool (formerly known as Roxul); it won't fuel a fire, but it will burn in a fire. Although it will age—the trapped gases near the surface will gradually be replaced with air and the R-value will drift downward slightly—after a couple of years it stabilizes and the R-value won't change further.

Its most interesting property is that it's remarkably tough, and grabs on to whatever it's sprayed on like glue. Actually, it essentially is glue—it's somewhat similar in composition to polyurethane glues such as Gorilla Glue. So it can increase the shear strength of a structure like my shed by up to 300%. In fact they use it in the American South to help hurricane-proof houses, and one builder online recommends spraying it on the underside of staircases just to keep the staircase build nice and tight. I asked the electrician what they do when there's a wire failure in a wire embedded in the foam. He said it's not something they see.

Lighting
We put a quad outlet on every wall, plus there's a GFI (ground-fault circuit interrupter) outlet next to the breaker panel per code, plus there's a double outlet on a separate circuit for the future window air conditioner. So there are 20 outlets in the room. That's got to be more than enough.

I wanted to say a little more about the plan of simply painting the unfinished ceiling dark gray. You might think this would be ugly and intrusive, but I'm not sure it will be. Think of what kind of lighting the room is getting—there is no general lighting except for the windows during daylight hours. There are two light circuits. The pool table light (I'm going to build my own) hangs at about eye level and brightly illuminates the table surface below it. So when it's the only light being used, especially at night, the table will be brightly lit and nothing else will be. The ceiling will more or less disappear, as it does in many pool halls. (See for example Ernie Barnes' painting "Pool Hall.") The other lighting circuit will be for the track lighting, which will also be directional, aimed at the photographs and artifacts on the walls. I don't know how it will work out—I'll have to see it—but it's quite probable that when I'm using one lighting circuit I won't be using the other—depending on who's visiting, we'll either be playing pool or looking at photographs, not both at once. As with the pool table light, the track lights will direct your attention to the finished walls and the dark ceiling will not be in your field of view or much in your consciousness. You also see this in many galleries, where all the focus is on the walls and pipes and ducts on a ceiling will be painted black or dark gray and will recede for most people.

Here's the color scheme for the interior (approximate, given the vagaries of color reproduction over the Internet):

Ceiling, floor, walls

Seating
There are going to be five bookcases, two 4.5-footers and three 6.5-footers, each with two shelves, for a total of 57 running feet of shelving. That won't hold all my books, but it will improve the situation from the severely limited shelving available in the house. I could fit a bit more if everything were made custom, but it's easier for Andrew to build multiples of a standard design, and smaller units will be more easily repurposed to different spaces in the future. Whether for me or for someone else.

As far as seating goes, I'm planning on having four seats, one in each corner (the geometry of a cue to a rectangular table in a rectangular room means there's more room available in the corners). At the door end there will be two bar stools without backs, and at the other end will be two nicer bar chairs with backs. That's because there will mostly be only one or two people playing. Now, when there are two people playing pool, you'd think you only need one chair, because at all times one person will be playing and the other will be watching. While that's true, most players like a place to put their stuff—to keep their other cues, set down their drink, put their coat in Wintertime, whatever. So I think it's more hospitable to have two seats, with a couple of extras for when four people are playing.

Is that enough about the shed for a while? I've been designing the bookcases, but you might recall Andrew's "Current Lead Time" clock in the post about the spice rack—I've got to get in line.  :-)

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

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Richard Parkin: "How can building a photo gallery be off topic?  :-)  "

MikeR: "I'd say that you're having some fun with this. Enjoy!"

Brian Stewart: "It contains photos, therefore it's on-topic."

robert e: "I have to admit, I rarely even notice ceilings, unless they're remarkably pretty or remarkably ugly. Even if you end up changing your mind, a coat of gray paint will have been a very low-cost detour. This project is going quickly!"

Mike replies: There's been a lot of waiting in between bouts of activity, but it's going quickly (and well) in recent days, yeah. I feel grateful.

marty knapp: "Very nice choice of colors and thinking about the dark ceiling re; the focus on the pool table and or the gallery walls. Personally, I favor dark walls for my gallery as when you turn on the lighting the prints are not glared out by a bright background. We used to call that non-image light in photography and have taken great lengths to shield it from our lenses with lens hoods. That Pewter Green you are using for the floor would be excellent for the walls.... Just my two cents. Best of luck on this great project. (I'm envious!)"

Mike replies: I hear you Marty, and I know Ansel preferred middle-gray (Zone V) for walls; he felt a white mat against as middle-gray background made the tones in the photographs look nicest. But there will be all sorts of things on these walls, not just B&W photos, and it's a multi-purpose room, not a single-purpose gallery. But I do get what you're saying and I don't disagree. I just don't want the whole room to feel small and dark.

John Krumm (partial comment): "I take it they sprayed under the shed as well? Or is that insulated a different way?"

Mike replies: Yes, the underside of the shed got spray foam insulation at the builder's, before delivery.

I'm working on a GX9 article, and it looks like it's going to be a while. For your diversion and amusement in the meantime, a few updates:

• Regarding the sale (or whatever it is) of Olympus, DPReview has published an interesting article covering dire predictions for the Japanese camera industry as a whole from Nikkei Asian Review Deputy Editor Masamichi Hoshi. Meanwhile, elsewhere on the same website, Canon is characterized as believing that "sooner or later the market will settle down and consist solely of users that are particular about imaging." Meanwhile, is it just me, or do a hefty number of recent DPReview posts seem to be about Olympus products?

• Regarding our post about to destruction of Central Camera in Chicago, which I feel a tiny bit sheepish for emphasizing in these pages, it bears mentioning that most Americans probably don't have a very balanced view of what's really been going on in the extensive fallout following the killing of George Floyd. Right-sympathizing media were beating the drum about widespread rioting, emphasizing the tearing down of statues including those of Founders, whereas left-sympathizing media reported mainly peaceful demonstrations with occasional isolated outbreaks of opportunistic looting and vandalism, and the pulling down and/or graffiti'ing of, for the most part, Confederate statues. Thus, many Americans might have somewhat different impressions of what actually went on, usually accompanied with different sets of feelings about it. I tend to see/read/hear The New York Times, The Washington Post (I subscribe to both), Politico, The Atlantic (ditto), CNN, MSNBC, NPR, The Guardian, and The New Yorker (ditto again), so you can diagram approximately where I fall on the AllSides Media Bias Chart. Anyway, here's a story about the return of Central Camera, courtesy of Ken Tanaka and several other readers. No clue where the Tribune falls on the spectrum.

• As an update my various dieting posts, I had to run an encouraging errand a few mornings ago. I drove up to the Windmill, a local craft fair and farmer's market that's only open on Saturdays, to search out the nice blonde German lady who is...into leather. That is, she has a booth where she sells leather goods. I bought a new real-leather belt from her for $42 last summer. I wanted to get her to put some more holes in! I had gotten down to the last hole—on the skinny side, I mean—and my pants were still falling down. Plus, the end of the belt was flapping around because it's too long now. She punched three new holes and chopped four inches off the end of the belt and now it fits fine again. I'd better not gain that weight back again, or I'm going to be out $42.

Back to work I git.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Yoram: "Bravo Mike for your diet results and keeping healthy life ! As a skinny guy (sorry, it's genetics) I really understand about that end-belt-flapping issue  :-)  ."

Dan Khong: "The Media Bias Chart is helpful especially for folks living outside the USA. We are mostly quite blurry about such matters.

"Now at least we know where the news are leaning towards, can tell apart the right hand from the left, and the rear cap from the front cap. Just sayin'."

Mike replies: Except that the Media Bias Chart is only relative to the spectrum in the US. The "Left" US media outlets are not very lefty compared to Europe. Bill Clinton would have had to run as a conservative in probably half the countries in Europe, and France would scoff at the idea that the NYT is leftist in any sense. Case in point: I'm a "leftist" in the US, and I would come nowhere near qualifying as such in any country except one in which the Center is over on the left side! I'm a dyed-in-the-wool middle-o'-the-road Centrist in any sensible context.

So keep the context in mind.

Robert Roaldi: "I remember an old cold war era joke. A town in Siberia wrote to the Kremlin complaining about hard times. The Kremlin replied, 'Tighten belts,' to which the town replied, 'Send belts.'"

Please note that with the "Artist's Statement" suggestion, I'm only proposing it as an exercise. You don't need to critique the whole genre or develop an ideological position about artists' statements in particular or the art world in general in order to benefit from it. Just write a short paragraph that provides a positive description of who you are as a photographer and what you care about.

Consider it a paragraph-long introduction to you...for people who don't know you. I'll quote a sentence from Steve Caddy's Featured Comment to the "Catch Fire" post: "The statement is a stab at helping to shed a little light to help orient the viewer."

And yes, write it in the third person. That's the genre. Go along.  :-)

Civil War generals
I actually took my own advice and tried the exercise yesterday evening. I'm not suggesting you share yours, because perhaps such exercises work better if they don't have to be displayed to the world and opened up to criticism. But I'll share my attempt just as an example, as a topic for discussion, and also because...well, it surprised me what I came up with! Honestly, I had no notion of where I was going to go with it when I sat down to write.

I started with "Mike Johnston is interested in..." and look what came out:

Mike Johnston is interested in portraiture and portraits of all types, especially informal, candid, and environmental portraits. This interest first showed itself at age six when he vandalized his parents’ collection of old National Geographic magazines by cutting out portraits of all the U.S. Presidents to make a "collection," a transgression for which his parents, generously, decided not to punish him. As an older child he became a great aficionado of the Civil War and decorated the walls of his bedroom with portraits of Civil War Generals and other historical personages. Books of Civil War photographs functioned as his introduction to the medium of photography, though not consciously. His first published photograph, taken at age 16 or so, was a portrait of a French restaurant owner and her chef in Holiday magazine, in an article written by his father. His first "show," in the dining room of the prep school he attended, consisted almost entirely of casual portraits of faculty members and fellow students. When he worked as a photographer for hire in the '80s and '90s he was mostly commissioned to do portraits. He most enjoyed making portraits of kids and young people, often with their parents or other family members. More flexibly, the concept of "portrait" can often be detected lurking behind other photographs of his, from family snapshots, to pictures of cars or dogs, to depictions of interior spaces or even trees or found objects.

Hmm. Well, apparently my first thought, when my mind is a blank, is that I'm a portrait photographer. I don't think it would have occurred to me to describe myself that way if someone just casually asked me.

I'm going to have to think about this. Was that just an easy way to go when I needed to come up with a sample "artist's statement" for publication here? I don't do portraits any more, largely because no one really needs them any more, at least at my level. People take selfies now.

But when I think back, there might be something to this. Portraits were the only specific thing I ever marketed as a pro. Generally I advertised myself as a lower-level jobber photographer who would do any sort of work, and I mostly got "any sort of work," but whenever I "asked" for the sort of work I actually wanted, it was portraiture.

I earned the most money from portraiture. I charged $675 for a sitting back in D.C. And that was more money then than it is now.

...And I got it, too, which is a crucial point! It doesn't matter what you ask for your services; what matters is whether someone pays it.

I photographed some famous people—at least, famous in the context of D.C.'s prevailing political culture back then. Including a U.S. Supreme Court judge, and a television talk show host.

It also seems to have been the only area in which artistic creativity on the one hand and commercial ambition on the other intersected for me—I developed several distinct styles I liked, and devised at least one specialty—the "engagement portrait," by which I meant a casual portrait of a couple just before their marriage. (I didn't like photographing weddings, but I liked the challenge of making pictures of couples that hopefully showed a little bit about how they felt about each other.)

Genius idea
And when I sat down to write, I was thinking of a particular long-ago circumstance. When I first got into photography, I took a job moonlighting at a framing shop so I could learn how to frame my own work. There I met a co-worker named Judy, who would idly talk about how she was going to open her own frame shop one day. At the time, I dismissed it as daydream-talk—Judy was not a hard worker as an employee. But Judy was made of sterner stuff than I thought—she did indeed open a frame shop, only a block away from where I lived in Georgetown. And it prospered, too.

At the time, I'd been having a peculiar problem. I had purchased a display advertisement—offering portraits—in the Yellow Pages (the commercial phone book, if anyone is too young to remember). And the ad drew customers. But I soon realized that I had little idea what these customers envisioned from the word "portrait." Which wouldn't have been a problem, except that everybody did seem to have something in mind! Everybody had their own conception of what a portrait was, yet few of them could put it into words. So what would happen is that I'd make a portrait, and they'd be dissatisfied because it didn't match their expectations, their preconceived idea about what they assumed I was going to do.

To counteract this, I asked Judy if I could put up some of my favorite portraits in her Georgetown shop, and she agreed. I only hung "personal work"—the kind of artistic portrait I most preferred to do, in my chosen style. My deal with her was that I'd send prospects to her shop to look at my work (it was my marketing portfolio, you might say), and, in return, I'd drop off the finished product at her shop and instruct my clients to pick it up there. Which would of course be a perfect opportunity for them to go ahead and get it framed, giving her a sale. I think she even agreed to give me a small percentage of the profit.

Examples of what my customers would pick up at the frame shop. Fiber-base prints, dry mounted and matted, in plastic bags. Not coincidentally, ready for framing.

I thought this was a genius arrangement. Along with all its other advantages, I really did want my clients to frame my work, the better to protect it for posterity.

And it worked great, as long as it lasted. Prospective clients saw exactly the kind of portrait I most wanted to do. Not only did they want me to do the same sort of thing for them, but sometimes they could tell me which specific picture they liked best and why. Compared to what happened with the Yellow Pages ad, it was night and day. I went from getting clients who had mystery expectations they couldn't communicate to me, to getting clients who wanted precisely what I could most easily provide.

Unfortunately, I had a traumatic life-event not long after, which triggered a relapse of my alcoholism, so the portrait enterprise fizzled. But it was the closest I ever came to being able to do exactly what I wanted to do and get paid for it.

I guess the next thing to think about is whether any of this should have any implications for the future. I'll go ponder that....

Mike

ADDENDUM: Finally identified the comment that inspired the "Catch Fire" artist statement post. I think I might be the one who lost it—I think I added it to the "Access" post as a Featured Comment but then got my wires crossed in publishing it and it got lost. Anyway, it was from Dave Jenkins and this is what Dave said:

Sometime after my book Rock City Barns: A Passing Era was published in 1996 and became an instant best-seller, I received a letter from the well-known art photographer Maria von Matteson, who proposed arranging a joint exhibit with her and the great Florida Everglades photographer Clyde Butcher. The show never happened, but one thing that Maria said to me stuck: she said 'You need to write an artist's statement that defines you.' So I did, and this is what I came up with. 'My domain is the old, the odd, and the ordinary; the beautiful, the abandoned, and the about to vanish away. I am a visual historian of an earlier America and a recorder of the interface between man and nature; a keeper of vanishing ways of life.' As a commercial, architectural, and occasional wedding photographer, I've done a lot of things that don't fit within that statement. Yet, for the past 22 years I've known who I am as a photographer and have sought to work as much as possible within that vein, including magazine articles and my most recent book Backroads and Byways of Georgia.

I wrote about this on my blog A Life in Photography.

Thanks to Dave and my apologies to him (and, er, to everyone) for misplacing his comment in the first place.

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Keith: "Now I'm seriously thinking of having a go at an artist's statement. Not that I'll publish it anywhere. Before I read your blog on the topic, I thought such things were an act of artistic pretension; a demonstration one could do 'artist talk.' Now I see it should be more an act of definition, of helping the viewer understand what they're about to see."

Just thought I'd mention—the reason I aspired to make videos for the Print Crit is not because I have any interest in videos per se. I just thought it would be a good way to get across a central fact of art, even on this small scale: which is that an encounter with an expressive artwork has the potential to be an occasion. Most people—in general, I mean, not TOP readers particularly—see art as something that's static, inert, and unchanging. It just sits there, according to that view, stored in a museum or wherever it is, ready to be accessed any time, and then it's done and the viewer passes by.  I don't see it that way really. I mean it can be. But it also has at least the potential to be an event in the viewer's life. An encounter with an artwork—a confrontation with it, you could almost call it—is dynamic. It contains not only the moment that it happens but everything that the viewer as a person brings to it. It depends on everything that pertains when the encounter happens—everything the creator puts into it and everything that influences the viewer at that moment—their history and psychology, their mood, their preferences and prejudices, what they know or think they know about what they're seeing—the list is as long as your arm.

When someone sends me a print to look at, it is in a deep sense a gift. They're sharing something they created with me. The act is very simple but has the potential to be meaningful as well. My feelings about the print might evolve over time—usually days, but sometimes longer—but the encounter, opening it and seeing it for the first time, reacting to however it makes me feel—that's part of the evaluation. Even if if doesn't last. True, I can try to get that across in words, and I'd probably do okay. I'll probably just write the first few of these.

But I sense that something more casual and at the same time more authentic might work better. Hence the interest in a modest few minutes in video format. It's not because I'm interested in the craft of video making (which I do know is a true skill, requiring talent, knowledge, and dedication), or because I want to make money or attract new viewers or whatever else. Those would be collateral issues. Mainly I just thought it might be a better way to get across the essential transaction here: the occasion of the gifting, you might say, and my response—and only then the more considered reaction that evolves over a little more time.

I'm struggling to express myself, you perceive, but I hope you can get from this what I'm trying to say.

Mike

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Featured Comments from:

Mark: "Although I was familiar with the photograph Gloria Swanson by Edward Steichen, seeing the actual print at Toledo Museum of Art was a mesmerizing experience...the photo appeared to be three dimensional...I had to look and look again to see if the effect was still there. It was. Yes, for me...looking at a print can be an event...an occasion.... I have seen other prints at Toledo where the silver just seemed to flow across the paper...rich blacks...smooth fluid transitions. But with Gloria, Steichen captured something really special. The Swanson print...it was amazing. As a final comment...I find it interesting how feeling about prints can change over time...what seemed interesting a year or two ago...no longer holds my attention...but with some...the magic is still there."

Geoff Wittig: "Yes! This is exactly right. A work of art is not just an inert object. I'm not a full-on post-modern Foucault/Derrida believer accepting the notion that viewers help create the work of art with their presence. But a huge part of the art experience is what we bring to the work.

"A personal example has to do with painting. Buffalo's Albright-Knox museum owns one of George Inness's greatest landscape paintings, 'The Coming Storm.' The first time I laid eyes on it I was gob-smacked but didn't really know why it hit me with such force. Since that time I have spent about seven years learning to paint, and have become reasonably competent at landscapes. Now when I visit this painting the experience is much richer. I can appreciate the brilliant paint handling that turned linseed oil and pigment into violent storm-clouds, the incredibly subtle and deft management of value and color temperature that creates a compelling illusion of deep space.

"A meaningful work of art can actually change your life. I had that experience when I saw a large 24x36" print of one of Jim Brandenburg's beautiful photographs. I wanted to make at least one large print that had the same impact. After 20 years I have a handful that I'm happy with, and it's still a joyful process working toward the next one."

Blogging is inherently wonderful in that if you start with one thing you can end up somewhere entirely different, through some connection that you never would have foreseen. Example 1: I was watching Josh Filler play pool on YouTube last week and the thought popped into my head that I would have loved to have had that much talent for pool (or for anything, really) when I was young. So I made a post about that and asked you which athlete's skills you would have liked to have had if you could have anyone's. Named in answer were surfers, cyclists, cricketers and freestyle rock climbers, and everything in between. Many of them were people I (and presumably some other readers too) had been unaware of prior.

In the mix we got a quirky response from PacNW celebrating the agility of a blue-ribbon border collie named P!nk [sic], attached to a delightful video. That, in turn, led to Dave_lumb calling the first video all well and good but recommending that we watch border collies doing the work they're bred and trained to do. So, from idle musings about how great it would be to be as gifted as a young German pool player, I find myself making the acquaintance of Brendan Ferris of the Kells Sheep Centre in County Kerry, Ireland, watching his demonstration of dogs herding sheep. He's obviously done it a time or three and knows how to please the crowd. Both are delightful...I mean both the videos are delightful, and the roundabout connection is too, if you appreciate whimsy and serendipity. As I do.

Photo courtesy Kells Sheep Centre

How else would a random narcissistic thought while watching a pool match lead on to two lovely videos celebrating sheepdogs?

Example 2: Phil Gyford emailed me a link to a Twitter thread about B&W conversion, and the next morning I learned why our eyes are least sensitive to blue light but also most sensitive to blue light, compliments of Tim Bradshaw—something I never knew before. Wonderful. (Don't miss Tim's Addendum to the post just before this one, if you've yet to see it.)

There's a third tidbit extracted from recent comments that you might not want to miss, if you happen to be following along with the Capture One discussions: I said the other day that Luma Range masking was in the Exposure tool tab. I was corrected by several readers, who pointed out that it's also in other tabs. But the thing is...well, let AndyF tell it: "Luminosity masking is not only available on the Exposure tab. It is also available on the Color tool tab and on the Details tool tab. To expand on this a bit, luma masking is part of the Layers tool, and while by default it appears on those tabs, you can fully customise C1's UI to put any tool on any tab, or even have tools on several tabs at once, or have them floating independently. It’s one of my favourite things about C1—I can have all the tools I most often use in one place."

I just thought this should be highlighted.

Blogs are wonderful, no less for the 'umble host than anyone else. Despite controversial posts like the one about the broccoli sprouts, which generated great protest and dissent.

I love this job.

Mike
(Thanks to Phil, PacNW, Dave, Andy, etc.)

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

The new book by the late James Ravilious. Speaking
as we were of sheep.

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Featured Comments from:

Kirk W.: "Keep doing what you're doing Mike! I truly appreciate the variety of topics—between your your wide-ranging interests and what the family of commenters bring to the table, my world has been expanded greatly. On a personal note, I would like to thank you for the nutrition posts. I've generally eaten a 'good' diet and stayed very fit and active. But now that I'm over 50 and cholesterol numbers have been on an upward trend, I've had to make some changes. Your discussion of WFPB diet and nutritionfacts.org got me going down that path last year. I haven't been 100% disciplined, but the results in blood work and body weight over the past year have been encouraging. Blood work results are much better, and I'm down to my high school weight (without any special effort). Good thing I like my veggies. So thanks again for taking the heat. The nutrition posts seem to create a level of vitriol that even snooker discussions can't match!"

Dave_lumb: "I wasn't sure if my sheep dog comment was a bit snarky, so I'm pleased you enjoyed the video, Mike. In the way that blogging has lead you to the unexpected, photography lead me (via poultry shows and sheep auctions) to sheep dogs and the people who train and work them. If the trial season hadn't been closed down here in the UK I'd be out most Saturdays adding to my files of sheep dog pictures. Needless to say, the Ravilious book is already on my shelf.  ;-)  "

Dave Jenkins: "I bought the new James Ravilious book a few weeks ago. I have all the Ravilious books, and this one is by far the most beautifully produced—a true work of art in itself. If you like his work and care for fine printing and production, this is the one to get.

"Better hurry, though. I see that as of this morning the Amazon price has gone up by almost ten bucks from the price I paid. I am quite a fan of Ravilious and will be writing about him next week on my blog."

DAVID BOYCE: "Many years back I was communicating with some people in the USA. This was probably about the dawn of the World Wide Web era. I could get people to believe that we in New Zealand still got about by horse and coach. What I could not convince them of was that one of the most popular TV shows at the time involved men yelling and whistling at dogs who were moving small flocks of sheep into a pen. Only one of those 'facts' was true."

The only time anyone ever cuts any wood around here, seems like, is when the power company is clearing a path for the power lines. I'm sure that's not true, but it seems like it sometimes.

This is in downtown Dundee at sunset. Sunset in more ways than one—Upstate New York is filled with small towns that are poor and run-down and have seen better days. No offense to Dundee. Let's just say small-town America is generally not prospering.

Saturday is my day off, and yesterday I took the camera and went out photographing. What a concept, huh?

I'd say the two pictures above are "chaff," which I was talking about in the previous post. I'm rusty, all right, and don't have much to show for yesterday.

But look what I encountered:

In case you're wondering, it's a pink rooster.

This is proof positive of the idea that if you want to find something to take a picture of, you've got to get out with a camera in your hand and poke about. If anyone had asked me what I expected to find when I left the house yesterday, a pink rooster would not have been on the list. No matter how long the list got.

I asked for permission to photograph him, from a woman who poked her head out the door of the back porch of a farmhouse sixty feet away (social distancing strictly observed) to call off the farm dog—actually a very friendly little fellow. I wouldn't have trespassed. But she disappeared inside again, so I didn't get to ask for specifics about the pink rooster—what kind he was, whether pink is his natural color or if perchance there's a girl around getting stir-crazy with the stay-at-home orders who went a little nuts with some food dye. A Google search for "pink rooster" turns up an awful lot of cutesy boutiquey crafty kinds of things and precious few pictures of actual pink roosters. Let's say I'm suspicious.

(A giant wild turkey just flew right past my window as I was writing this, landed on the hillside, and walked over the top and disappeared. This seems to be the post of unexpected birds! I don't see a lot of turkeys down here by the lake and I hardly ever see them fly. When you do see them fly, you realize why they don't like to.)

Oh, all right
I had the 35mm ƒ/1.4 on the camera yesterday, and I have to admit it's not the thing for farm country from the car. I suppose I should take that long telephoto when I go out. There are pictures up here, but most of them are far away.

Only one more thing to show you, just to make a small point:

It's Venus, in the sky in the West, above the bluff, as I saw it on the way home. Venus is lovely and bright this time of year and a dominant feature of the evening sky. This isn't perfectly sharp, but it was taken with a shutter speed of half a second. I said I wanted a digital camera with really effective IBIS, and we certainly got that in the X-H1.

Wishing you and all your loved ones the very best this Easter morning. May God bless and keep you safe, and sane.

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

Including, for your delight, Cosmic Kiddies,
English Roadies, Children with the Answers,
Cooking Italians, Presidents of Recording Companies,
Acrobatics and Displays, The Odd Sane Dog,
The Space Choir, Assorted Sound Freaks,
And All Elements of the Truth.

(15 life points if you know where that came from.)

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richardplondon: "Lord Berners, a full-on English eccentric of 100 years ago, used to keep white doves dyed into similarly startling pastel shades. A tradition maintained after his death."

Mike Ferron: "'The Pink Rooster' sounds like a drinking establishment on 6th St. here in Austin. Maybe we need clarification on the one camera one lens suggestion. If I know what it is I am going to photograph? A single focal length is just fine. But for walk/drive around with no known target? Hey give me a zoom any day."

Mike replies: It would make much more sense for wandering around in this kind of country. A 35mm is limiting. Only one problem, I don't own one.

Mark Sirota: "I've been telling my students for years that the hardest part of photography is editing—I define it as finding the best single photo of the set. I don't get into whether that one is actually a great photograph, it's merely the best of the set. There's a lot to unpack in that goal—to determine 'best,' you have to understand what you're trying to achieve, and be able assess whether each photograph accomplishes that, and whether it does so better than that other one that also seems to accomplish that.

"I went through a phase a decade or so ago when I basically gave up—I always presented multiples. A diptych, triptych, a 3x3 grid...because I was unable to close the deal in the editing phase.

"I think editing is the most underrated part of photography. I don't see a lot of attention paid to it, but it's critically important."

Mike replies: I'll second that.

David Raboin: "I feel how tentative you are about posting your photos. Am I wrong? Please keep it up. You say your first two photos are "chaff". I agree that they don't say much as stand alone photos, however, within the context of your blog they become evocative. These quiet photos create a mood, a sense of place, and help us readers understand exactly where you're at."

Ned Bunnell: "Mike, this is a great start. As David said, don’t be tentative and worry about posting images. As Charles Harbutt reminded me over the course of attending three of his workshops...none of us are ever going to be Cartier-Bresson. Focus on developing your own unique style of seeing life and then stick with it. And as I mentioned in a recent email to you, I’ve always compared photography to fishing. Some days for me are like catch and release...none of the photos are worth bringing home. You live in a beautiful corner of the world. And relative to other parts of the country, you’re very safe. The photo walks/drives would be good for you. And even if you only bring home one keeper each day, it will contribute nicely to an on-going series about your experience living with this pandemic. Just do it and remember, many of us here really want to see a regular flow of images taken by you."

Mike replies: Re photography and fishing.

It's official...as confirmed at my latest appointment yesterday, my new eye has improved to 20/20!

Still has a bit of astigmatism, which can be corrected with glasses.

My other eye has gotten a little worse and will need the same treatment (partial cornea transplant, new lens implant) in a year or two.

What a wondrous time we live in, when failing eyesight due to aging can be corrected with technology and surgery. I've also been impressed by the degree to which my brain merges the information from both eyes and creates an image (a mental image?) that is better than the "raw" data from either eye alone. Tracking this experience—large changes in my eyesight followed by slower adaptation by my brain—has been a fascinating object lesson in just how much we "see" with our brains as well as with our eyes. In a way I feel lucky to have experienced this.

Very much looking forward to getting my new, updated computer glasses, corrected for 20 inches, to make the time I spend in front of the monitor more pleasant. I get a bit of eyestrain now, with the no-longer-correct glasses.

I try to spread the word when I can...if you ever need this kind of eye surgery, don't fear it. We're naturally protective of our eyes, and the thought of having our eyes poked with needles and cut with blades is horrifying. But it's really not bad at all—my surgery was quite bearable. The whole experience was a bit arduous but nothing truly taxing.

...And now this result. I'm very happy!

Mike

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Alan Whiting: "As an astronomer, I've done some research into visual observations (which are still surprisingly useful to the science). I've concluded that there is no such thing as raw visual data: even the simplest observation (such as the brightness of a star) is heavily processed before you, the observer, see it. For a scientist, this can be annoying. This cartoon might be of interest."

Mike replies: That might be the best ongoing "cartoon" strip on the planet right now.

Mike, What happened with the tree(s)? I swore to the heavens that if you were saved, I would buy that new lens I'd been holding off on. Hope all is well there. Rick

A brief update on the wind and the trees...the "wind storm" turned out to be what might more accurately termed "a windy night." Nothing here got pulled out of the wet ground by the wind. I lost a branch off one of the towering spruces in the front yard, not a big deal, and, halfway up the hill, a big tree snapped in half 30 or 40 feet above the ground. There's maybe a thirty-foot section lying on the ground near its base, including half of its foliage. Many big branches broke into bits with the force of its fall.

Unfortunately, I can't exactly cooperate with Rick's attempt to rationalize his lens purchase. (Good try, though, Rick.) Apparently the tree broke where the trunk splits into two main branches, and only one came down—the other one, a substantial log, is nearly detached but still hanging in the canopy. It's tough to get a picture of it but I think you can get the idea from this:

That branch you can see is probably 10–12 inches in diameter at its thickest point. Obviously this is jeopardizing anyone or anything that walks beneath it, so I assume I am going to have to figure out what to do about it. Fortunately it's in the middle of a steep hillside where almost no humans or large animals ever walk, but still, it's a hazard. George Fisher is coming this Winter to take down my late and lamented ash tree, done in this past twelvemonth by the emerald borer beetles and the birds that feed on their larvae, so I shall ask him his opinion.

The tree must have rotted at the crotch between the two main branches, is my guess.

A friend I play pool with had a tree come down and crush a corner of one of his two garages and poke holes in its roof. He's waiting for a visit from the insurance adjuster. The big log that fell on my hillside—the one that reached the ground—is fine where it is, so there it shall abide, sheltering small critters and creepy and crawly things.

The giant leaning tree was unfazed by the wind.

Such is life in the woods* in the Finger Lakes!

Mike

*My favorite book, Thoreau's Walden, is subtitled "...Or, Life in the Woods."

Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

Please help support The Online Photographer through Patreon

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Frank Gorga: "You got off easy! I live in the woods of southwestern New Hampshire, at the end of a dirt road (i.e., only one way in or out). Yesterday morning, a tree came down across the road about a half mile from the house taking down the power lines. We were without power for eighteen hours and 'stuck' at the house as well. (When the problem only affects five houses, you are way down the list in terms of priority.) Actually we walked about a mile and a half to a neighbor's for dinner and then back home, so we weren't really stuck, just our vehicles. Ahh...life in the NH woods: it's all good, even without power, except that I couldn't read TOP yesterday!"

Mark Sampson: "That hanging branch in your picture is known as a 'widowmaker' to loggers and other woods people, for obvious reasons."

It took me four days to write yesterday's essay—a number of drafts—and it didn't improve my brand or further the site's mission. A whole satchelful of new cameras were introduced as I was a-beaverin', and manufacturing some breathlessness about that would have drawn more eyes. And been less work.

The new cameras:

Sony A6100 (a simplified A6400, $748)
Sony A6600 (with IBIS and a much larger battery, $1,398)
Panasonic Lumix DC-S1H (optimized for video, $3,997.99)
Canon EOS M6 II (has the 90D's 32.5 MP sensor, $849)
Canon 90D (latest in a long line of traditional APS-C DSLRs, $1,199)

But getting back to yesterday. The whole question of who makes the art and which political group's "experience" they are said to represent is unfortunately absolutely irrelevant in my opinion. Maybe we wish that weren't so. First of all, individuals don't automatically represent groups. Second, let me ask a few more questions which, although currently of little or less interest, actually cut far deeper: does it matter what kind of person an artist is? Does it matter who caused or commissioned the art? Does it matter what toll it took on the artist or his friends or family? Does it matter if any of this aligns with your values and to what degree?

Without naming real examples, posit these scenarios: 

• A ruthless egotistical ruler who caused the deaths of hundreds of thousands of his own country's citizens commissions an architectural monument. The monument is designed by a master sculptor who considers the commission a golden opportunity, and the building of it is carried out lovingly by artisans who are tremendously fulfilled by the work. In later generations, the monument is visited and admired by millions of tourists.

• One poet is a luminously spiritual and highly moral individual who is beloved by all who know him personally, but his poetry is wooden, superficial, labored, and earthbound. Another poet is a drunken, selfish lout who beats on and cheats on his wife and leaves his luckless children psychologically damaged even after he himself is safely six feet deep. But he seemed to churn out verbal felicities without effort and his best-known poem is so famous it's known even to people who don't read poetry and in some cases to people who don't even read.

• A corporation instigates a famous series of artistic grants tying them to its own name. The grants give many struggling artists a foothold in the creative life and sees them through critical early periods in their careers, in some cases enabling them to make art their career, and many of them are grateful for the help and in later years give public thanks to the program. It later comes to light that the program was initially a deliberate, cynical attempt at PR, and the corporation, among its many activities, exploited the weak and the poor, circumvented laws, and deliberately cheated the government because it knew that the fines for doing so, although huge, would be less than the profits it gained by cheating.

• A movie director is, to put it in shorthand, deeply creepy. But the best of his movies plumb the depths of human psychology and remain memorable decades after they were made not despite, but because of the director-auteur's tangle of neuroses, phobias, obsessions, and problematic, disordered personal relationships.

So:

?

Really, if you insist that the politics behind art, artists, or institutions be impeccable by current standards as well as by your own positions, especially if you get super-fastidious about it, you're going to be sh*t out of luck most of the time, insulated and isolated from most of the experiences you might otherwise have had with art. Art, like life, is messy, and artistic creation throughout history is often connected to power structures in ways that we might find uncomfortable if we were fully aware of the backstories. Often, artists work when and where they can because they want to work, and, as a viewer, your experience of art is not guided in any meaningful way by...well, the meaning of it, or should I say the meta-meaning of it. The art is its own thing. I've been looking at art all my life, and I've learned not to care too much if the painting was made to become a tipped-in plate in a children's book or a paeon to the glory of the Medicis or if its creator was in such agonies that he cut off his ear. I'll still go into the Frick despite, well, Frick. The art is the art. You cast a cold eye.*

Look at you!

And since I'm asking questions, the biggest question: is the Sony A6600 really "new" in any meaningful sense, or it is merely another reheat in a string of updates to a well-established (let's not say old) design? Should a photography website and its readers really get all excited about it? Or is it entirely a shopping thing for those who are distracted by their addiction to shopping, and otherwise not of compelling interest.**

Almost forgot the: ?

;-)

Mike

*

[Photo by Stephen Coyne, used with permission]

**Gotta make sure this post gets at least a few comments.

P.S. To bookend yesterday's, today's post title is the shortest in TOP's entire history.

Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Featured Comments from:

Steve Biro: "I sold my A6000 and A6300 a few months ago. I've been waiting to see what Sony came up with next for APS-C. Sure, the A6600 has the latest autofocus abilities from the A6400, in-body image stabilization from the A6500 and the bigger Z battery from the full-frame A7 series. But, with the exception of that battery, the A6600 is essentially an A6500 with a firmware update. For $1,400 body-only. It's a pretty cynical offering by Sony, in my humble opinion. And it seems to have left most of the faithful somewhat wanting. I'm sure the idea is to guarantee interest in the next Sony APS-C camera— which will no doubt be unveiled in six months. My response: I'm selling all of my APS-C E-Mount lenses and not looking back."

Matthew O'Brien: "I have been waiting for a Sony crop camera with the larger battery, since the larger battery became available for the A7 series...so I am keen. Next, wait for real world reviews (but not expecting any surprises) and then Santa Claus. I suspect at some stage it will replace my old A7 camera (which was a major disappointment) and be a sister and backup to my A7RIII, plus useful if I want to use the 100–400mm lens. I am delighted with the news..... (And really happy with my A7RIII. I am not interested in the A7RIV...but understand why it is in the lineup. 42MB in most cases is too big for me."

John: (partial comment): "Who cares about this crap? You wrote you spent four days writing that uninteresting work of garbage, why? Because you lost your train of thought regarding photography? Boring stuff IMO."

Chas (partial comment): "Coming to the previous column late, but let me say that a.) I think yesterday’s was extremely well written, i.e., the investment of time shows; and b.) both columns, yesterday and today, are absolutely worthwhile and, if I may be so bold, germane to the art of photography and to the exploration of art more generally and, therefore, columns for which I am thankful."

John Camp: "1.) Napoleon? 2.) Carl Sandburg/Ezra Pound? 3.) Purdue Pharmaceuticals/Sackler family? 4.) Roman Polanski? I liked both columns. The entire art world is a blizzard of BS, and talking about it a bit helps clear away some of it, at least in my own mind.

"As for the Sony. I keep telling people, Sony may make good/competent products, but they're all about the money, and always have been. About one nano-second after the cameras appear to be losing money or not making enough, they'll be ditched. In my humble opinion."

[Editorial note: that "Angry Mob" post was a joke, just so everyone understands. However, it's going to take me a little longer to finish the "Baker's Dozen At the Museum" post. I'll continue to work on it over the weekend, I promise. —Mike the Ed.]

-

I've learned a lot about photography from Carl Weese. He should write a book.

Carl's the one who first explained bokeh to me (bo-ke aji or "bokeh" being the visual quality or qualities of out-of-focus blur). He also said, in the '90s, that "digital is the coming-of-age of color; black and white was already perfect," or words to that effect, something I still believe is true.

When I wanted to start a portrait photography business in the early '90s—I liked doing portraits, and I was good at it—Carl's the one who made me think it through. He told me to work the numbers.

I took his advice. I worked 'em. Numbers flew every which way, densely covering sheets of paper.

When the dust cleared, it became clear that I would have to do three portrait sittings a day, five or six days a week, to make a reasonable living at it—and not only do the sittings and all the follow-up work, but find the customers in the first place. There isn't a magical supply of customers just because you want to do a certain kind of work. You've got to get out there and market yourself.

The question revealed was stark: I liked doing portraits, and I was good at it. But did I really like doing portraits that much?

The answer was no. I wouldn't mind doing three portraits a week. But three a day? Ew.

Paul Newman the...
Malcolm Gladwell's "10,000 hours to expertise" idea, from his book Outliers: The Story of Success, which we've discussed several times before, has come under scrutiny again as a new study either partially replicated or partially refuted the original 1993 study on which Gladwell based his theory (depending on which way you look at it). The upshot seems to be that lots of "deliberate practice" is essential to mastery in most fields involving "talent," but that other factors matter too. Which is sort of a ho-hum conclusion, since it's about what you would expect.

To me, though, the key is something else. Only people who have talent, aptitude, or affection for a certain skill are likely to be motivated to practice it to the degree that mastery requires.

Think of something you really enjoy doing. Now try to imagine how much could you actually do it.

For example, some people really love hitting the links and playing golf on a beautiful Summer's day. They look forward to it all Winter. Even so, 18 holes a few times a week is enough for all but the most avid diehards. Amateur golfers often think professionals live the life of Riley—they get to play all day, every day! Not so fast, li'l tiger. If you're a golfer, ask yourself this: would you really enjoy practicing golf for between five and ten hours every day like a professional, seldom taking more than a few days off in a year? Really? Those guys grind to a degree you probably can't comprehend. As an amateur, if you retired rich to a balmy clime with a house at the fringe of a course, would you have the drive (no pun intended) to play a round every single day—and then practice for a couple of hours every evening on the range and the putting green as well?

I'm not a golfer. Pool's my game. I love it. I watch a lot of it, and look forward to the occasions every week when I get to play. But an hour of practice a couple of times a week is plenty for me. After that, I've had it. (My buddies think even that much is cheating.) Could I practice my break for five hours straight like five-time U.S. Open 9-ball Champion Shane Van Boening does, and then do the same thing again the next day and the day after that and the day after that? I think I'd sooner whack myself over the head repeatedly with a house cue.

Many times in my life I've come across people who are gung-ho to master something or other (not just photography). They're extremely determined, and at first they're very focused and work very hard. But as time goes on, their interest fades, and that focus dissipates. The truth is revealed: they just don't have the appetite for working that hard, that long, on that thing.

No amount of determination helps. You can keep it up for a while, but you can't fake the interest and appetite necessary to work on something obsessively.

Actor Paul Newman was introduced to racing while filming the 1972 movie Winning, about auto racing, for which he and Robert Wagner attended the Bob Bondurant Racing School. For Wagner, that was that. But not for Newman. For Newman, it was just the beginning. His friends initially thought he had gotten temporarily distracted by race-car driving—it was a dalliance, a lark. But the truth turned out to be that he found the thing he really liked to do. Acting quickly took second place. "I had a great deal of fun filming ['Winning'] but I never really had a chance to stretch my legs out and find out what I could do in a car," Newman told writer John Oreovicz in 2004. "It actually took me three years of rearranging my schedule before I could find time to get my license and everything. After that, I never did a film between April and September or October. [Racing] was all I did."

My brother Scott had a high-school buddy who was the same way. Jimmy-James Rollins started out as a terrible banjo player—when he and Scott were teenagers I used to dread being forced to listen when he came to the house and got his banjo out. But he loved banjo, and he loved to practice, and he practiced and practiced, and he got better and better and better. It was a beautiful thing to watch. Eventually he toured Europe with a bluegrass band, among many other accomplishments on the scene.

Which came first for Jimmy-James, the 10,000-hours cart or the I-love-banjo horse?

You can work this premise backwards, too. In my favorite essay about writing, "The Getaway Car," the novelist Ann Patchett points out that most people who say they pine to be novelists either cannot or will not write for one hour a day for thirty days without a break. So the question becomes, what exactly is it that you can practice endlessly and have it make you happier rather than driving you crazy? That's the thing you should do.

That's the real key to the whole "10,000 hours" idea, if you ask me. You have to find the thing you enjoy enough such that deliberate practice doesn't seem like a chore, but is more of a pleasure. Don't pick the thing first and then get all determined to practice it until you master it. Just find the thing you enjoy doing enough that you could do it for hours and hours every day and not get tired of it.

That's how I realized photography was for me. I'd start working in the darkroom at eight or nine in the evening and then, after I knocked off, I'd be totally surprised that it was getting light out and I had worked all night long.

The key isn't the hours per se. The key is having enough appetite for something that you can put the hours in.

Off he goes
Carl's a good writer, and no doubt he could write that book summarizing his many insights into photography. But he'd probably rather load all his view cameras into the car and set out on another of his epic journeys in search of pictures. That's what he really likes to do.

Mike
(Thanks to Terry Letton)

Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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