“What’re they gonna have at the San Diego Museum of Art?” I said, sneering. “A statue of a fish taco? An exhibit of craft IPA labels? A fluorescent Jeep Wrangler? A Tony Gwynn jersey?*”
This had been my scoffer’s attitude. But on the website of SDMA I learnt that they have a painting by Hieronymous Bosch, The Arrest of Christ.
Seeing a close to 500 year old painting by a weirdo master seemed worth a short Uber.
I was really impressed with SDMA! Small, but packed with wonders. Something good everywhere. There was an exhibit of “Golden Age of Spain” art that I didn’t even bother with. (Usually I find I like the art that came right before the golden age?)
The wall placard attributes Christ Arrested to the Workshop of Hieronymous Bosch, not Bosch himself. And how about Madonna of the Roses, by Pseudo-Pier Francesco Fiorentino?
Or Portrait of a Man by an unknown Flemish artist (once attributed to Hans Memling):
Goya, You Who Cannot. (They must have a bunch more Goyas in storage).
11th century Sambander.
George Inness, Farm Landscape, Cattle in Pasture—Sunset, Nantucket
Thomas Hart Benton, After Many Days.
An untitled work by George Copeland Ault.
Giotto, God The Father with Angels.
Sunday Afternoon, Hughie Lee Smith.
In The Patio by Georgia O’Keefe.
Anyway. This was all a nice break from Comic-Con.
At Comic-Con I heard that the X-Men are coming back.
* cheers to Jeff K. for this last punchline.
was trying to capture the stark steepness of the street across the lake, and the special but unrelenting quality of afternoon sun in LA, and also how LA can look very lush and inviting while also having a kind of washed down, contained, prison-like aspect.
Thought this Vox piece about Antelope Canyon by Rebecca Jacobs was insightful on the meanings of photography in Instagram Age.
What’s the meaning of a tour where they tell you how to photograph it?
first see the rocks early the next morning with a tour group, which is the only way you are allowed to visit them. Before our guide tells us his name, which we find out is Anthony, he asks us the most crucial question of the day: “Do you all have iPhones?”
Anthony instructs all of us except the kid with the Samsung to open our camera apps, click the icon in the top right corner, and swipe to a setting called “Vivid Warm.”
a non-industry friend asked me to summarize the current dispute between the WGA and the ATA. I did my best:
Anyway. We welcome comment!
For the purposes of this exercise, let’s rule out Amtrak. It’s “public transportation” in a way but that’s another level. Let’s talk about traveling, by public transit only, no Greyhound, connecting network to network, and see how far you could get.
Worked on this problem briefly and here’s what I came up with.
The key is really Lancaster. From LA you could take an 785 Antelope Valley Transit Authority Bus to Lancaster.
From Lancaster, you could connect on Kern Valley Transit and go as far as Lost Hills or Delano, or even out to Ridgecrest.
You’ll be dropped off around here:
But, you could also hop on the Eastern Sierra Transit Authority’s Mammoth Express, go out to Lone Pine, change there for a bus that will take you to Reno, Nevada.
You could even hop off early, in Carson City, Nevada. It’s thus easier to travel in this method to Nevada’s state capitol than it is to California’s.
Far as I can tell, closest you can get to Sacramento without resorting to Amtrak or Greyhound from Los Angeles is Delano or Lost Hills.
Along the coast I don’t see how you get farther than Santa Barbara.
If you’re heading east, I could see you getting to Hemet with some help from the Riverside Transit Authority, or you could work your way all the way to the east side of the Salton Sea with some help from the Sunline Transit Agency.
We welcome corrections from our transit-minded readers!
Yosemite has to be one of the most photographed places in the world. Yet, everyone there is: producing more photos. You walk around and see everyone with their phones out, snapping away. Or people not satisfied with phones, hauling big cameras too.
What is the meaning of continuing to photograph it? Maybe there’s an appeal like what draws rock climbers there, you want to try your stuff on the famous playground of the masters.
My mind was opened reading this Playboy interview with Ansel Adams, where he talks about trying to make the photograph capture what he was feeling:
Similarly, while the landscapes that I have photographed in Yosemite are recognized by most people and, of course, the subject is an important part of the pictures, they are not “realistic.” Instead, they are an imprint of my visualization. All of my pictures are optically very accurate–I use pretty good lenses–but they are quite unrealistic in terms of values. A more realistic simple snapshot captures the image but misses everything else. I want a picture to reflect not only the forms but what I had seen and felt at the moment of exposure.
Playboy: When did you know you could accomplish it?Adams: I had my first visualization while photographing Half Dome in Yosemite in 1927. It was a remarkable experience. After a long day with my camera, I had only two photographic plates left. I found myself staring at Half Dome, facing the monolith, seeing and feeling things that only the photograph itself can tell you. I took the first exposure and, somehow, I knew it was inadequate. It did not capture what I was feeling. It was not going to reflect the tremendous experience. Then, to use Stieglitz’ expression, I saw in my mind’s eye what the picture should look like and I realized how I must get it. I put on a red filter and figured out the exposure correctly, and I succeeded! When I made the prints, it proved my concept was correct. The first exposure came out just all right. It was a good photograph, but it in no way had the spirit and excitement I had felt. The second was Monolith, the Face of Half Dome, which speaks for itself.