Wishing Ya’ll a Very Merry Christmas 2010
Spike, Christmas Past
Triptych: TRIP-tik: a picture in three panels side by side
Etymology: Greek triptychos having three folds, from trip- + tychē fold
1969, Baton Rouge, Louisiana. I was a sophomore at LSU and bivouac in what was affectionately called “The Ghetto”.
Davis circa 1969
My apartment was a tiny studio and rented for $47.50 per month but that included window A/C. In the fall of ’69, I was sitting on my apartment floor staring at and fascinated by the album cover from an alternative rock group, Pearls Before Swine. The entire cover was a detail from Hieronymus Bosch’s, The Garden of Earthly Delights.
Pearls Before Swine, Album Art
Pearls Before Swine, Album Art
Later, I discovered it was painted in c.1704 as a triptych.
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I became intrigued and then enamored by the triptych concept.
The next year, 1970, I was doing my student trek of Europe and ventured into the Prado. There another Bosch, The Adoration of the Magi, seized my attention.
It too is a triptych but what grabbed me was how the three separate panels related to each other.
Adoration of the Magi
How the action of a single event viewed at perhaps slightly different moments in time, moved between the panels. Distinctly separate images yet connected in a way as to make the over all work of art much stronger than any individual panel.
I began to think in threes and occasionally photographed in threes but it wasn’t until 30 years later that I would incorporate the idea into group portraits.
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In the late 1990’s after five years of some personal difficulties, I found myself pulled between commercial and artistic pursuits. I was enjoying recognition for an alternative film process I discovered and had named, Illustratype.
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For years, I had been applying the Illustratype technique to individual portraits, nudes, still lifes and always seeking new ways to use the process.
One day the phone rang and I was asked to capture Chris Cornell’s family in a non-traditional studio portrait. My thoughts went to using my Illustratype process. We began our portrait session using my 4×5 camera and Polaroid film (the camera and film of choice for the Illustraypes). Then during the session, bam!, I had an inspiration and shot the family in thirds.
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The beauty and grace of the Hieronymus Bosch 17th century paintings had inspired me to create a contemporary family portrait. How cool is that?!
4x5 Illustratype Triptych (not the Cornells)
In the early part of the decade, I used the 4×5 camera and Polaroid Type 53 film. Polaroid eventually discontinued the film and I slowly, frustratingly, moved to digital imaging.
DSLR Digital Triptych
Now, I embrace the digital, still creating family triptychs, continually honing my art.
** call me: 206-284-1767 or email davis@davisfreeman.com and let’s discuss how I might create a lovely triptych for you and your family**
The modeling light kept pulsating off then on; off then on. I was standing on the balcony of the studio peering down at the glaring light just out of reach, and frustrated, wondering “Why does it keep doing that?”
I awoke from my dream confused as to my whereabouts. Yes, of course, Chicago, my friend Barbara’s place. As I lay in bed in the early morning, sheet pulled over my head, I could hear the sounds of cars and trucks hurrying to their early morning destinations. Although I couldn’t see them through the sheet, I knew the large industrial loft windows were 10 feet from the bed and just beyond that the freeway. Then through the sheet, painfully glaring light, then darkness.
I pulled the sheet down and could see semi-trucks rushing down the elevated freeway reflecting the early morning sunlight into my room piercing my eyes. Then I recalled my modeling light dream. The modeling light that went on and off, on and off. It seems so strange how one inhabits a dream.
Barbara's Hallway
In two days I was to lead a workshop in the “classic nude”, a studio class designed for practiced photographers, but with little or no experience with studio lighting or the human form. Barbara had approached me a few months earlier to prepare a program on figurative photography. Excited about the prospect of a class and to have an opportunity to visit Chicago, I eagerly agreed.
The class was to be held on Saturday at the Chicago Photography Center. The day before, we stopped by the center to check out the facility, their equipment, and to meet a few of the staff. The space was small but adequate, the equipment mostly working, and the staff exceptionally helpful. I felt ready.
My model, Daniela, from the Czech Republic, was in her 20’s and inexperienced. Just before the start, I gave her the outline as to how I saw the class going and answered her questions about modeling as best I could. She said she was ready and, as it turned out, she was absolutely superb. She was relaxed in front of the camera. Her calm demeanor allowed for the interactive process of creating beautiful images.
Nude80
I’m often intrigued to discover what the participants of my workshops find most interesting and useful. This group seemed indisputably interested in the very practical. I began by covering some history of the nude, how historical paintings inform photographs, and a discussion probing ‘why nudes?” However, they lit up when I turned on the studio strobes and I began to demonstrate.
I contemplated how to articulate the subtleties of light and shadow as they fall over the human form. Then a metaphor leapt into my mind. A friend, Bernard, is studying to be a sommelier. I have always been in awe of his “nose” and ability to articulate the qualities in a glass of wine. I tend to be more pedestrian. I seem to struggle to tell a Cabernet from anything. I can usually tell a red from white, that is, at least if I see the glasses.
One evening, just before my departure to Chicago, Bernard invited me to a tasting. Six wines: three red; three white. To my utter amazement I was able to identify 4 of the 6 wines! It turns out I had the ability all along. The trick was to allow my nose and palate to communicate with my brain. I have the sommelier’s ability when it comes to the visual. So in that moment, in the Chicago workshop, I recognized that most people are able to perceive the subtle changes of light and dark on a subject. What is needed is for them to allow their visual palate to develop.
Davis with Student
With experience they too could become visual sommeliers.
This experience resonated with my class, and several people for their first time really began to understand the nuance of light upon a subject. As a mentor, this was very gratifying.
For the next several hours they searched for these subtleties. It was a delightful morning.
The session ended with a spirited discussion and a grand party later that evening at Barbara’s.
I was tapped to cook up a gumbo for the participants and friends. The wine flowed and the crayfish simmered.
That night I moved to a much darker room away the freeway.
What does one serve as a creative feast for five women who desire an intimate morning of exploring some basic photography? I asked myself this after a delightful phone conversation with a client. She was confirming that she and four of her friends were wanting such an encounter.
I pondered what to cook. Yes, of course, a “creative gumbo!” I’d start with a roux of art history stirred to napalm hot with the oil of understanding your camera.
What else, I asked myself? Cajuns have their “holy trinity” of celery, bell pepper and onions. I’d have mine of selective focus, composition and exposure. Yes, I believed that would do just fine. I sautéed the three and added a pinch of fill flash, chopped in some cropping, then added a dash of lens choices for some fine spice. I simmered with multiple practice runs and waited until the day of the workshop.
When I was finished I had one spicy presentation! 
Monica, one of the moms rang me just before the workshop worried that the others might have far superior camera knowledge and experience. She thought perhaps she should drop out. I assured her that she would leave feeling the experience was more than worth the price of admission. I guaranteed her that this gumbo would have something for everyone and those who wanted more spice could question me as liberally as adding Tabasco. I went further and offered to gladly refund her fees should she leave feeling hungry or unsatisfied.
The women arrived too early for Mimosas. They drank tea, coffee and noshed on a plate of fresh fruit. We chatted and toured the studio before settling into the projection room.
I asked them each to bring an hors d’oeuvre of images they had taken and particularly liked. Each offered yummy images that surpassed my expectation. I noted they all had great camera gear and they all used them on automatic. They were eager to possess some insights to take the next step and leave “point-and-shoot” knowledge and step up to camera mastery.
When we got down to the main course, we found the morning moved swiftly. It shifted smoothly from basic composition, rule of thirds, f-stops, shutter speed, depth of field, fill flash…on and on. We skimmed over these basics landing long enough to drive home some understanding as they retained a bit of helpful knowledge.
I detected a good deal of “ohs” and “ahs” as they savored the workshop. Some need to slurp a little and let the knowledge cool. Others were hungry for a full bowl with seconds. As chef, I believe I was able to deliver appropriate portions of my gumbo. Each found something in the mix to question or explore in more detail. As I reviewed their images and the day progressed , I found it inspirational how these women captured beauty in day to day life.
Patty was interested in documenting her family’s involvement in motocross. We discussed how this takes a photojournalist eye, an understanding of motocross and anticipation of the action. She had very cool images but little understanding of how aperture selection, depth of field and shutter speed could enhance her creative vision.
Kristine and Sofia were particularly interested in more traditional family activities. Sofia shared a manipulated image that had all of her family members doing silly holiday things.
Alex seemed delighted to absorb all the new flavors.
We closed our morning together with a light salad of Q&A. I believe they were filled with a feast of photography. Now it was time for a late lunch and other types of nourishment.
As they were leaving Monica turned and said that the day was well worth her time and, indeed, the tastiest creative gumbo she could have ever imaged. This was music to this chef’s ears.
As they left I was satisfied and began to contemplate my next creative gumbo workshop.
Addendum:
These workshops are offered occasionally or when there are a minimum of 4 people to put one together.
If this piques your curiosity or know of someone that might benefit from a workshop, please get in touch with me. I’d be very interested in whipping up another batch of gumbo.
Later,
Digital allows for infinite images. Just throw in another 16 gig card, right? I’ll “get the shoot with more”. Here’s a contact sheet from Diane Arbus (1923-1971). 12 images, that’s right 12; one iconic photograph. If she’d taken several hundred could it be better?
Diane Arbus Contact Sheet, NYC circa '60s
Diane Arbus Contact Sheet, NYC circa '60s
What do you think?
I had an image in my mind’s eye of Julia Margaret Cameron‘s 1872 portrait of Alice Liddell.
Alice 1876, Julia Margaret Cameron
Alice 1858, Charles Dodgson
This led me to be reminded of an earlier Alice portrait by Charles Dodgson. You may know him by his pen name, Lewis Carroll. He wrote Alice’s Adventures in Wonderland for the amusement of Alice Liddell . With these images in mind and a brief scouting outing, my assistant and I went to meet London and her mom.
When I was introduced to London, she wouldn’t come out of the closet.
I heard quiet crying and caught a glimpse of red eyes. I sat on her bed covered in stuffed animals. Surveying the collection, I asked her mom which was her favorite. I commented, “I like this one. May I keep it?” The four year old slowly peeked around the corner and looked chagrined. “Well perhaps I could just borrow it?” I said. She leaned further around the corner and slowly eased her way out.
From there it was a slow but sure movement from her bedroom to the botanical gardens. She was curious and my questions piqued her interest.
I was engaging suggesting one ”play” site after another. My poor assistant followed, running after us with changes of clothes, cameras and the ever present light reflector. At times, London, forgot she was being photographed. These were the beautifully candid shots.
London1
London1
At other times, she was clowning for the camera, winking, smiling, making a face.
Occasionally she would out fox me by understanding my strategy
and at the last possible moment push her hands toward her face to prevent the image from being successfully taken. In the end, we played and ran around for 20-30 minutes. She was exhausted; I was exhausted! The results were worth it.
I’m not sure if I made a friend that afternoon, but for about 30 minutes we played and played and played.
Reviewing the day, I believe it was a little like chasing the white rabbit down the rabbit hole.
London 3
London 3
“It takes a specific amount of optimism to be on the road, and anything less means misery. A nominal Buddhist who knows that the ‘goal is the path’ is at an advantage.” ~~Jim Harrison
Wild Bill arrived from New Zealand and proposed a road trip. We had about a week and a vague destination: Glacier National Park.
A quick stop at AAA provided road maps and tour books to fill the back seat. Bill believes in being prepared. He also picked up maps for Nevada, Utah, the Western USA and I recall Alaska (he has a fishing camp there and, besides, one never knows on a road trip).
Our first stop was Tieton, WA a sleepy farm community with a strong artist influence. It’s website’s (it actually has one) description: Mighty Tieton is an entrepreneurial venture of urban and rural designers, architects, artists, and creative individuals, working in the Central Washington town of Tieton, fifteen miles west of Yakima.
It’s has a center square, a few stop signs, three restaurants (a café and two Mexican places) and a growing artist influence.
Tieton, rollers
We ran into Mike at the café and he gave us a tour of his and Ed Marquand’s vision. Added to our small band of travelers were Christine and David two friends visiting from Seattle.
David, Christine, Mike and Wild Bill
We were given the grand tour of Tieton, very impressive. Sharp condos converted from a warehouse, artist workspaces, art galleries, a full working book binding business and more. A bonus for me, upon my arrival back in Seattle I was given notice that my work had been accepted into the Tieton Art show, 10x10x10. So, I’ll be heading out soon to revisit Tieton and attend the opening.
Tieton Wall
From Tieton we headed toward Walla Walla and the center of the Washington wine country. We sniffed around, reconnected with a few old friends and hit the back roads toward Montana.
Highway 12 closely follows Lewis and Clarks return trip up to Missoula.
Highway 12
Beautiful mountainous roads, wind their way through the Nez Perce reservation along the Lolo River and finally Lolo pass on to the edge of Montana.
Missoula was a short stop to visit a war memorial park.
Hwy 12
Bill remembered the park from a previous visit and thought it was a stunning reminder of the sacrifices upon which this country is founded. We were told that for a state it’s size, Montana has more men and women in uniform than any other. The park and memorial were certainly beautiful. Bill’s been an expat now for many years. He loves his life downunder but I do believe I noticed a tear in his eye when he talked about the USA being the greatest country. From Missoula we zoomed up the highway to Flathead Lake and Bill’s close friends, Don and Marylou.
Flathead Lake, MT
Last year while visiting Bill in New Zealand, I met Don and Marylou who split their time between NZ and Flathead. They have built a lovely home just up from the lake where we sat during the evening watching the light dwindle and the activities on the lake slow to a quiet pace.
Kootenai Lodge
Among the many side trips was a visit to Kootenai Lodge. Built in the early part of the 20th century by Orvis Evans and Conelius Kelly, of the Anaconda Copper Mining Co., it was originally a summer retreat to hunt and fish. In it’s heyday of the 1920s and 30s the likes of Charles Lindbergh, Charlie Russell, John D. Rockefeller and Will Rogers regularly took the great Northern Pacific Northern train to relax and be enveloped by it’s quiet majestic beauty. Virtually abandoned over the decades it had crumbled into disrepair. A few years ago, Phil Milhous took it on as a labor of love. Milhous is meticulously restoring the original structures as a private community with the lodge acting as the central club for its residences.
Continuing on our road trip, we set our sites on Glacier National Park. Along the way, we ran into Rod Serling’s ghost..next time.
Last fall, I donated a Cajun/Creole dinner party for the Queen Anne Helpline’s annual fundraiser. It was a live auction item which a friend of mine purchased. Last Saturday we had the gathering. Two terrific people, Deborah Paine and Christine Kistler supplied, desserts, salads and a tremendous amount of enthusiasm. Jon Rowley offered up some delicious raw Kumamoto oysters,
Oyster shucking
and I prepared crayfish Étouffée and Andouille sausage/chicken gumbo. It was truly a special gathering for one and all.
Davis Etouffee
Louisiana, Louisiana
They’re tyrin’ to wash us away
They’re tryin’ to wash us away
Randy Newman, Louisiana 1927
Toward the beginning of the festive evening we took a moment to acknowledge the catastrophe that has landed off the shore of my home state, Louisiana. The oil disaster is now in the Gulf stream and inching its way around the horn of Florida.
Bayou Terrebonne, Louisisana
In 2008, I continued a long-term project to photograph in Southeast Louisiana. I visited with fisherman, shrimpers and permanent residents who were just starting to recover from the severe affects of Katrina and the storms that followed. Grand Isle, a sliver of land, was rebuilding from the winds and waves that battered that island. Life was hard for the residents. Cecil Lapeyrouse’s family lived for generations in the area and ran one of the oldest general stores.
Lapeyrouse Grocery
Eighteen months ago he was feeling overwhelmed with the loss of business, the loss of wildlife, the loss of his family’s heritage. I can’t image what is going through his mind today.
A Louisiana friend pointed out that the timing of the oil pipe hemorrhaging could not have been more environmentally disastrous. Along the coast, as everywhere, all the fowl were hatching their young, the crab had begun to revive, oysters were ready to gather. The people dependent on the bountiful Gulf invested their winter days and funds in preparation for the beginning of the harvest season. This is an ecological and economic disaster of the highest proportion.
It’s time we all look at our dependence on oil. From the gas in our cars to the plastic in our containers, crude (what a descriptive word) is used everywhere.
In 1968 the movie, The Graduate, was released. A key moment in the movie happens when Ben, Dustin Hoffman’s character, is given advice from his father’s friend. “Ben I have only one word to tell you, Plastics .” As a teenager, that moment and word resonated with me. As I look back we seemed to have had very little plastic in our lives. It’s time for a redirection of our resources to renewable energy sources and away from the clutches of crude.
I have begun in a personal way to look at where I can reduce crude from my environment. It is really, really difficult. However, when I see the horrendous destruction along our southern coastline, I’m determined to change my dependency. Change sometimes hurts. I encourage you all to do some soul searching.
Actually I’m talking about dogs.
I’ve taken images of dogs for years but lately it seems they have become a larger part of my repertoire.
My favorite dog portrait is of my dog, Spike.
I admit to being a little bias on this one. Recently, I’ve had the pleasure to meet and photograph many dogs and occasionally their owners.
Following are a few tips for capturing better outdoor dog portraits:
- Outside available light, that is without flash works best. The flash from your camera may startle, look unnatural or take too long to recharge. If it’s an overcast day (this is Seattle after all), run the iso up to 400 or 800. Shoot at 1/60 second or higher.
- Get down on the dogs level. Although an occasional shot of the dog looking up at you is cute, getting down may be more rewarding.
- Choose your time wisely. If you are looking for frisky, “catch the ball” shots, work with your pooch before he/she is exercised. If a more relaxed image is desired, work her out, let her rest, and then bring on the camera.
- Really pay attention to the surrounding. Try to have an uncluttered background
. If you are shooting in color, try analogous colors. - Get up close and personal with pooch.
- Use a “shallow depth of field” and a shorter focal length. Try 50-70mm @ f5.0-8.0 from 2-3 feet away. Try for the background going out of focus leaving eyes and snout in focus.
- Have a few key words to perk up the dog. I always ask what word excites the dog. Usually it’s something like: “park”, “walk”, “treat”. Be camera ready say the word, ears perk up and “bam”a great shot.
- Have treats available but each time give him a very small taste.
- Work in pairs. One person is working the camera; the other just behind or to the side coaxing your pet to look in the direction of the lens (refer to tip # 7 and #8)
- Finally take a lot of pictures and have fun! Let the dog play; let yourself play.
Try these and let me know how they work out. Send me a few of your best dog pictures and I will post some in a future blog.
Have a great time with your dog.
Triptych: TRIP-tik: a picture in three panels side by side.
Would you describe my family triptych portrait session?
My Triptychs Are An Interpretive Work Of Portrait Art
I strive for my triptychs to create a provocative, powerful and insightful moment in your lives. It’s much more than a “family portrait”.
Our First Meeting Is Informative
It’s a time for questions but more importantly to view the triptychs full scale. It’s very difficult to appreciate the impact of a work of art that can be over 5’ wide when it is confined to a computer screen and appears 6” wide.
A Triptych Session Is An Interactive Process
The shooting day is relaxed and slowly paced. We meet, ask and answer questions, select clothing, prepare for the sitting, then adjourn to the studio.
There is A Strong Urge To Sit, Look Into The Camera And Smile. Please, Suppress It.
Unlike a typical portrait session, this one is designed to capture a moment in time and reveal your individual personalities. We’ve all been trained to sit, look into the camera and smile. This is quite different. As the family begins to naturally interact, my camera and I fade into the background.
My Mission
I capture the nuances of expression, which I accomplish by photographically splitting your group into thirds: The left third, the right third, and the center third.
At the session’s close, I have captured upwards of 200 frames. Before you leave, we set a date to review the final selection and to choose your triptych.
Images before editing
The photographer shakes up the familiar scene, and, as if by magic, we see a new meaning in it. - With apologies to Anais Nin
Now, my behind the scene work begins. The images are spread out on a virtual table dividing them into their respective thirds: left, right, center. Next I edit the initial large take to a select 40-60 images. From this select, I assemble 1-5 potential triptychs for your final selection. . Before we meet, I may devote an entire day assembling images to create your family triptych selection.
Gestalt: The Whole Is Greater Than The Sum Of Its Parts
The last meeting begins with an air of excitement. I stress how the family triptych should be viewed as a whole. If anything, they are similar to three frames of cinema film. One plays into the next creating a dynamic interchange.
During the process, an image may be substituted from the select group. This is welcomed. As family members you know each other better than I. I’m intuitive but not all knowing 
.
The triptych is brought to life through my imagery and our partnership. It is therefore essential this last step be completed in one sitting without input from others who may not understand the nature of the triptychs.
By the end of the session, your triptych is selected. Then, three to four weeks later, I delivery your beautiful framed work of portrait art.
Family Triptych
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