Poore again. This page was in his last 1933 book, the long-out-of-print Art Principles in Practice — a sequel to the only book of the series still in print (the first one, oddly enough), Pictorial Composition and the Critcial Judgement of Pictures. Pity this little taxonomic chart isn’t part of that still-popular paperback.
I call this the AMOT*SL chart.
This morning saw a sudden change for Minneapolis, from bitter-cold and brown to nearly-temperate and blanketed in snow. Who’s to argue with that?
In preparation for the holidays I’ve been printing. It started with a few small prints, then I selected some wintery shots for printing at 12”x18”, to be on the walls during the holidays and an upcoming holiday party. Then opened the cabinet to find some old prints, and.. at least five shopping trips for frames later, I’m still left with far more prints than frames, and even then more frames than wall space on which to hang them.
The long flights to and from Europe last week gave me a chance to catch up again on some of my reading. Some, at least. One of my burdens, literally at times, is a fondness for reading and the ability to read very fast — so I end up carrying multiple books in my briefcase alongside the big Dell computer. Cab drivers and bellmen are always surprised when they discover my briefcase’s weight (along with my suitcase, which is usually further loaded-up).
It’s been many days again since I’ve written here (though I have written a few short entries for PhotoPermit.Org), a good chunk of them consumed by reading. I feel like I’ve had some growth and change in the way I approach picture books. And that’s separate from doing a perhaps nutty thing with photo books: trying to view them through a camera viewfinder, to get a better grasp on what might have been seen by the original shooter (something worth doing once, but if it’s persistent, call a doctor).
No, but I think my new plateau comes from a similar leap of imagination, of having a stronger sense of what was in the maker’s mind for each image: where to stand with the camera, when to press the shutter; how to lay down the colors broadly and then to refine them with each successive stroke of the brush. The reading is slower but the enjoyment deeper.
Since Red Color News Soldier, which I’d written about earlier, I’ve managed to make it through these books: