Photography Books

In a roughly 8 year period, the author made several kayak trips along various parts of the Superior shoreline, hauling photographic equipment along and immersing himself in those wild, unspoiled scenes so spectacularly portrayed in the 154 plates that appear in this book. The results are well worth every penny of the 40-odd bucks this book costs, and then some. As a fellow photographer of nature, I can attest to the way one can use ground glass and film to convey his deep appreciation -- yes, even a spiritual bond -- with the outdoors as God made it. Blacklock's collection of 4x5 format images (with one 35 mm slide thrown in) of the Big Lake is not only visually vivid, but spiritually moving in a way few other published photo collections can perform.

Nowhere have I seen water, rock, ice, forest, fog and sun so splendidly blended and starkly contrasted at the same time, across an entire plate set. [Plate 33 is the most stunning portrayal of ice and sky together which I have ever seen -- National Geographic's Arctic photos included -- and easily in my top 5 favorite photographs of all time.] Most admirably, nowhere in any of the photos appears a man-made object that I could see. The author takes his efforts a step further by fully revealing his techniques -- right down to the camera, film and tripod brands, and his CMYK post-processing in Photoshop (not to alter, but instead to clean up, the imagery).

Having been all around Lake Superior, its rugged vastness revealed to my eyes but only feebly captured on film by comparison, I am in awe of the job Blacklock has done. The sky, rocks and waves there have such a rich story to tell; and this book masterfully allows that story to begin. It makes me determined to return someday, camera again in hand and Blacklock's methods in mind, to get far removed from the tracks of people, and to experience Superior at its raw, unrestrained best.

There's a message in these beautiful photos and essays. We must preserve natural balance. As Linda Benedict-Jones says in the Introduction: "...One of the specific wishes of Blacklock... is that the remaining undeveloped lake shoreline be kept for open access. When he silently glides for months on end around the periphery of the lake, he does it with the hope that his pictures will convince others to appreciate the lake as he does. Lake Superior is simply too profound as a spiritual resource to be guarded by a privileged few. Should these last open stretches be developed, they will forever be out of reach by the general public. We have learned precious little from the examples set for us by the Navajo (Dineh), the Dakota and the Anishinabe. We all know that Native Americans lived in harmony with the earth and believed that land could be neither bought nor sold since it belonged to all. Perhaps it is not too late to apply their wisdom to relatively small, yet hugely important, areas of land bordering the Great Lakes. Perhaps these Blacklock photographs will help preserve public access to Lake Superior's shores, as certain photographic efforts of his 19th Century predecessors helped to convince (the U.S.) Congress to establish national parklands of the Yosemite, Yellowstone, the Grand Tetons and others." Pass it on!

It is printed and bound in Milan, Italy by Amilcare Pizzi. They have done a very good job in binding this hardcover book. It has 112 pages and is of a suitable size 235 x 310 mm. Most of the photos are on the right face of an opening.

All the prints are monochrome and have a brown tone to them. All models are female and show sensual nudity and they pose standing. Personally I like most of the tranquil, silent and warm pictures. I can also see an emphasis on the eyes of the models.

I'm happy to see a Finnish model on page 15 (Rebecca), someone I have not yet had the privilege to photograph. The most stunning images are page 11 (Nina Z., Russia) page 31 (Larissa D., Slovenia)and page 63 (Nadya, Russia).

I can highly recommend this book, and the price is well balanced. It has at least found a place in my library.

These images are most unusual for portraits, and are very successful. All of the models are friends of Ms. Tenneson, and are not posed by her. Instead, she is trying to create a "visual diary . . . to probe emotions and inner realities that are . . . invisible . . . ." To do this, "I asked them what was most important in their lives." The book contains quotes of what the subjects said, as well as the finished image. To be a spiritual warrior is "to offer oneself to the world authentically, to flex the courage muscles, to share what it means to be human." She is open to the whole person, for "what fascinates me is life's complexities, the darkness as well as the light."

Each portrait is reproduced in warm browns. The foundation of the portrait is a nude image of the model or models (usually mother and child or twins). Then a double exposure is created to superimpose other elements of the subject's self vision. Portions of these images will be light, and will exist as overexposed sections that seem like the sun bursting from the page. The imagery is quite strong, and you will probably find yourself having an emotional reaction to it. That's definitely part of the appeal. You will also feel like you know a lot about each model.

Here are my favorites among these wonderful images: Nina Z., Russia; Sheryl and Sef, United States; Rebekka, Finland; Nina B., Germany; Laura and Isaac, United States; Yael, Israel; Marie-Claude, Canada; Jasmin, Australia; Suri, United States; Marisa, United States; Lindsay and Amanda, United States; Jessie, United States; Margarita, Russia; and Sun, United States.

How does she see her role as the photographer? "I just provide a safe place for them to be open . . . ." Who are these women? "They are pilgrims . . . ."

After you enjoy these images, I suggest that you also ask people what is most important in their lives. Even without taking a photograph, you can come much closer and create important bands of connection. What else can you ask that will be revealing and welcome?

By being a respectful seeker, you too can be a spiritual pilgrim. At the end of your journey, you may also become a light warrior.

It is a beautiful edition, worth having and will make an excellent, classy present not only for a photography enthusiast, but for everybody.

Content Caution: The images in this book contain a few involving minor female nudity that would earn its contents an R rating if it were a motion picture.

Review:

"I note the obvious differences

in the human family."

" . . . but we are more alike, my friends,

than we are unalike." -- Maya Angelou

The theme of this poem nicely captures the focus of this book of loving photographic images. As Ms. Mark says, "I much prefer to photograph people I care about." She wants to "build a rapport with my subjects." In studying them, "I am guided by what moves and surprises me." That final element will affect you as well. Too often, we mentally pass by those around us. Ms. Mark's images make us want to reach out with our hearts and minds.

The book shows people from all parts of America over the period from 1963 through 1999. The photographs portray all kinds of races, creeds, colors, and political and sexual persuasions. Ideas that you may not like are portrayed involving people you will probably find appealing. That juxtaposition of people and issues will cause you to rethink how you relate to others. It will probably make you more modest and humble, and that's good. Special themes involve the mentally ill, twins, homelessness, beauty contests, political rallies, and families over time.

My favorite images in the book are as follows:

Santa Claus at Lunch, New York City, 1963;

Marky Mark concert, Jersey City, New Jersey, 1993;

Hot Tub, West Orange, New Jersey, 1999;

Bodybuilder, Daytona Beach, Florida, 1991;

Russell, Kansas, 1986;

Mary Frances in the tub, Ward 81, Salem, Oregon, 1976;

Jail, Houston, Texas, 1977;

Husband and wife, Harland County, Kentucky, 1971;

Jesse Damm, Llano, California, 1994;

Hurstie Laxton after the flood, St. Louis, Missouri, 1993;

Million Youth March, New York City, 1998;

Lakiesha, South Dallas, Texas, 1988;

Clinton Albright and his father, Santa Clarita, California, 1982;

Nightclub off of Highway 61, Michigan, 1991;

Vashira and Tashira Hargrove, twins, H.E.L.P. Shelter, Suffolk, New York, 1993; and

Tiny, pregnant, Seattle, Washington, 1985.

After you see these photographs, you will probably agree with Ms. Mark that she has been on "a long and blessed journey" that has opened her heart and ours.

Seeing these photographs should encourage you to become acquainted with people you see who you would normally not think to speak to. Try living that way for a day. If you enjoy the experience, keep on going -- taking it . . . one day at a time.

Find the common ground . . . wherever you go!

Though no expert, I enjoy the art of photography. I am particularly interested in portraits of real people. Mary Ellen Mark has the ability to capture people with extra-ordinary depth and feeling. Almost without fail, her images are moving. With a skill beyond the normal artist, however, her images have the ability to be thought-provoking.

Consider a photo labelled "Aryan Nations, Hayden Lake, Idaho, 1986." Three pleasant-looking, smiling women--the cherubic face of the woman on the far right particularly draws the eye--set in counterpoint to their white supremacist garb. Or consider the series of photographs of Tiny who has clearly experienced many things in her life but who face, amazingly, holds the same soul in each image. Or consider the contrast between the photographs of Julie d'Aquili and Cynthia Galves despite their similar poses. Julie is a healthy young woman but her somber expression stands out starkly against the cancer-ridden Cynthia who still manages a smile.

I believe that I could write something about every single photograph in this collection. Let me instead just say that these photographs will grip you and hold your attention for hours. You will come back to them again and again. And, unlike reproductions of paintings in a book, photographs do not suffer from the process nearly as much. I would encourage anyone with an interest in photography to take a look at this book.

I'm lucky enough to be acquainted with one of this book's subjects, Steve Langley of Washington, and I have a lot of respect for the choice he and his partner have made to be included. It's a beautiful book.