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Motivation is a photography blog that discusses the creative aspects of photography. The posts will include thoughts about images and their interpretation, photographers and their work, technique, workflow, my ongoing projects, and perhaps even the occasional off topic rant.

New eBook - Photographs And Poems

The Floral Forms eBook

The Floral Forms eBook

I am pleased to announce that I have recently completed another eBook! The Floral Forms eBook is a book of photographs and poetry that is a collaboration between myself and and writer/poet Michelle Levasseur. 

I 'met’ Michelle and discovered her poetry on Google Plus. She wrote poems to accompany her photographs. Her words added meaning to her images, peeling away their outer context and enhancing them. I was a fan of her poetry and she was a fan of my photography. We commented on each oth­er’s work. A collaboration seemed appropriate. One of the wonders of the internet is that we were able to carry on the collaboration without ever meeting, as I live in the eastern portion of The United States and she lives in the western portion of Canada!

The 24 photographs in the eBook are from my "Botanicals In Black And White Portfolio" in which I concentrate on the easily overlooked forms, lines, and shapes of flowers.  These qualities are much more evident in black and white than in color.

Michelle has written 24 poems, each one as an emotional response to a specific image.  Her heartfelt and passionate poetry adds depth and meaning to the photos.  As I read each poem, it became clear to me how the words were joined to and specific for each individual photograph.

I am offering the 60 page eBook with all 24 images in high resolution along with the 24 poems for $2.99.  That's right, less than the cost of your morning latte......as a matter of fact, it might make for some pretty cool reading to go along with that latte, as it is also formatted for mobile devices! Click here for more information; just scroll down to Floral Forms or click here to purchase.

As a 'teaser', here is a sample from the book:

 
Hyacinth
 

A whirlpool of dancers

Chaotic, hypnotic

Mating in shadow

Meeting in the shade of now

 

See me, see you

Through a gauzy veil

The haze of numb love

As the silent dancers tumble and turn us

Like leaves in the wind

We move to that silent beat

Together

 

Savor the sudden lull

The quieted breath held

Hear whispers, dulled roars

A heartbeat begins to fill our souls, fire our spirits

A beat that lives elsewhere

A beat from the outside

Insistent

Listen

 

Photo Copyright Howard Grill

Poem Copyright Michelle Levasseur

 

My webhost seems to be having trouble accepting blog comments from SOME Safari and Internet Explorer browsers. If you try to make a comment on this post and are unable to please feel free to send me the comment via my contact page and I would be glad to post it for you!

The Things They Carried

Every so often I take the liberty of writing a blog post that has nothing to do with photography. This is one of those times. I recently finished reading a book by Tim O'Brien entitled The Things They Carried. It is ostensibly a book about the war in Vietnam. But it really isn't. It is a book about war in general, except it really isn't that either. It gets closer to say it is a book about what it is like emotionally to be a soldier in a war, but it really goes deeper than that as well. To me it is a book about dealing with the unfathomable, not only in war, but in life. And thus there are some personal, non-war related aspects of the author's life mixed in among the remembrances of war. But these blend perfectly and seamlessly into the narrative.

Take for example when his first 'girlfriend' died of a brain tumor when both he and she were the tender age of nine. O'Brien dealt with it by visiting her in his dreams. His mother was concerned when he consistently wanted to go to bed early. Of course, she couldn't know that he was going to bed to visit her in his dreams, where she was very much alive.

During one of the dreams he asks the girl what it is like to be dead and she thinks that this is a silly question.

She smiled and said "Do I look dead?"

I told her no, she looked terrific. I waited a moment, then asked again, and Linda made a soft little sigh. I could smell our wool mittens drying on the stove.

"Well, right now," she said "I'm not dead. But when I am, it's like.......I don't know, I guess it's like being inside a book that nobody's reading".

"A book?" I said.

"An old one. It's up on a library shelf, so you're safe and everything, but the book hasn't been checked out for a long, long time. All you can do is wait. Just hope somebody'll pick it up and start reading."

Lest you think the book is morbid, it's not. It is a book that has been highly acclaimed by an author who was a Pulitzer Prize finalist. I was initially attracted to it because I am old enough to to have lived through the Vietnam war with memories of it nightly on the TV news, but young enough not to have had to go. But again, it really isn't about Vietnam. It is a very worthwhile read. In fact, I am now starting to look into O'Brien's other books. The Things They Carried......highly recommended!

The Brown Sisters

Photographer Nicholas Nixon has, starting in 1975 and for the last 36 years, photographed his wife and her three sisters posed in the same sequential order.  In 1999, marking the 25th anniversary of the project, he published "The Brown Sisters".  That book is long out of print, but recently the Museum of Modern Art has reprinted it and expanded the book to include the yearly photos taken up to and including 2008. Somehow, the portraits convey much more than just the progression of age.  The Museum of Modern Art apparently also has in its archives most of the actual photographs which can be seen here, though I am  unsure why they do not have them in chronological order on their website.

At the time I was initially writing this post, the Museum's second addition of the book, which contained the 33 images through 2008, was for sale and I was lucky enough to get one.  I believe it is now out of print again, so you will have to make due with the website images.

The book is excellent though, and if the project appeals to you I would recommend scooping one up if they print another edition.

Artwork Is A Personal Journey

Over the years that I have written this blog, I have frequently noted other photographers and other blogs that I have enjoyed.  Today, I would like to point out a blog post from a photographer whose work I have enjoyed (and purchased) and who I have had the opportunity to meet personally.  This particular post really made me think about the uniquely personal aspect of artwork.  I think you will enjoy this post by photographer Cole Thompson about comparing your artwork to the work of others. If Cole's writing touches a chord with you, then you will most assuredly enjoy reading Art & Fear: Observations On the Perils (and Rewards) of Artmaking.  This book is really a must-read for all who take their art-making seriously.  In fact, I found the book so meaningful that I reviewed it in the past.  Click on the following link to check out my review of  David Bayles and Ted Orland's book Art and Fear from back in 2007.

Photo -Eye Best Books Of 2010

Having just undergone a bit of minor surgery (I'm just fine, thanks) I am still a bit sore and so, though it is time for a new post, I am going to make it a rather short one. By the next post, things should be back to usual.

Photo-Eye just came out with its always interesting list of the best new photography books of the year. The 2010 list can be found here.....enjoy!

Vision And Voice

There are many books on Lightroom 'out there' and though some are better than others they are, for the most part, pretty similar. This slider is for this, that slider is for that, be careful pushing slider x above 70 etc. Not that such books aren't useful....they surely are for people who are unfamiliar with the software or are beginners in how to develop an image from RAW format.

But recently there appeared on the scene a totally different type of Lightroom book entitled Vision & Voice: Refining Your Vision in Adobe Photoshop Lightroom (Voices That Matter) by David DuChemin. DuChemin's purpose in writing the book is not to show the reader how to use Lightroom but, rather, to demonstrate how Lightroom can be used to express one's photographic vision.

The book starts out with a discussion about artistic vision and it's expression, moves on to a discussion about how to use Lightroom as interpretive software to give voice to one's vision, and then uses 20 photographs to demonstrate 'real-life' examples of the prior discussion (the RAW files are also available for download to more carefully follow their development). To be clear, this is not a book of recipes or presets, it is a book that aims at nothing short of starting the reader off on a journey to think more carefully about what they are trying to express with their photography and to enable them to translate that expression into the final print.

This book is quite different from any other Photoshop or Lightroom books that I have read and I highly recommend it as a 'must have'. (Truth in advertising.....as an Amazon associate I get a few cents credited to my account if you click on the above link and end up purchasing the book).

The War Of Art

I am frequently on the lookout for books about art and creativity and especially for books about art AND creativity. I have previously written a fairly extensive post about the book entitled Art & Fear: Observations On the Perils (and Rewards) of Artmaking by Bayles and Orland here, here, and here . In my mind, this is the standard to which all books regarding art, creativity and the harnessing of creative energy should be compared. Art and Fear is a five star book if ever there was one and if you are interested in the arts, or in producing art, you should definitely get a copy.

Recently, I began reading another book dealing with the same type of issues of creativity and the production of artwork entitled The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield. Mr. Pressfield’s thesis is that there are an innumerable number of hindrances that one can find to inhibit the production of their artwork. He lumps them together as so called Resistances. The ability to identify these Resistances is an important first step in overcoming them, and overcoming them we must if we are to live a creative life and produce work that lives up to our inner potential. In fact, we can, by understanding these Resistances, learn to work through the things that would normally keep us from moving forward.

Overall, I feel there are some excellent and thought provoking ideas discussed in the book. At times I feel that Pressfield goes just a bit overboard but, nonetheless, after reading the book I do feel that I have a better understanding of how to get myself to move forward artistically and for that reason alone would recommend the book to anyone interested in these types of issues. Just understand that you might not agree with all Pressman’s ideas and conclusions (ie I found myself disagreeing with the premise that only when doing something professionally can you be fully committed to it). However, I guarantee that you will find many useful insights in this relatively short and quick read.

Here are a few of my favorite quotes from Pressfield's little gem of a book:

In regards to self-doubt about one's ability...

"Self-doubt can be an ally. This is because it serves as an indicator of aspiration. It reflects love, love of something we dream of doing, and desire, desire to do it. If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are.

The counterfeit innovator is wildly self-confident. The real one is scared to death."

In regards to fear...

"Are you paralyzed with fear? That's a good sign.

Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do."

In regards to rejection....

"The professional keeps his eye on the doughnut and not on the hole. He reminds himself it's better to be in the arena, getting stomped by the bull, than to be up in the stands or out in the parking lot"

Definitely a worthwhile book....I give it 4/5 stars.

Photography Book Ideas

Like many people who enjoy the art of photography, I also enjoy collecting photography books of all sorts.....fine art photography, photojournalism, essays etc. I don't think there are many photographers who don't also have a photography library. Sometimes, I will just get in the mood to buy a new photo book and start browsing or looking for ideas. I thought I might write about the sources from which I get ideas for book purchases and also ask anyone who might be reading this to contribute other ideas as to where they go to find out about photography books.

There are several sites that I use as information sources. Here are the ones that I use most frequently and enjoy the most:

1) Photo-Eye Bookstore: A great resource! Also, one can sign up for their e-mail newsletter, which comes about once a week. So, with no effort at all, you can have a steady stream of information about the newest quality photography publications.

2) The 5b4 blog...another great resource with book reviews.

3)Podcasts: A good number of photography podcasts, at one point or another, have book recommendations. In fact, I learned about my latest purchase, a book called The Printed Picture, from a recent LensWork podcast. In fact, the last three LensWork podcasts have been related to photography books.

I also look forward to Paul Giguere's Thoughts On Photography podcast. I purchased a real favorite of mine, Secret City, based on Paul's interview with photographer Jason Langer. In addition, every December or January he has an episode about his picks for the best photography books of the year. Granted, it will be eight or nine months until the next book review episode.....but the old ones from years past are still there for the listening. And the podcast is great, so don't just listen to the book review episodes!

4) Finally, I also get ideas from several photography magazines that contain book review sections. The three that immediately spring to my mind are Photo Life, B&W, and Color but, of course, there are others.

Writing this, it occurs to me that I don't typically peruse the websites of the prominent photo book publishers. Nor, and I guess this is a sign of the times, do I generally find photography books by browsing in bookstores. However, that may simply be because your typical brick and mortar bookstore generally has a very limited selection of these types of books.

So, what are your favorite resources for finding out about photography books?

Books On Books

Errata Editions had an interesting idea with their new 'Books On Books' series. They describe their series as an 'ongoing publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. Each volume in the series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or expensive for most to experience'. I love photography books and thought this was a wonderful idea, so it was with great enthusiasm that I purchased Volume 1 Atget: Photographe de Paris, the newly released first book in the series.

Despite the fact that I was really looking forward to this series, I found myself quite disappointed when I received the book. The series plans, as Errata puts it, that ' Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study of the creation and meanings of these great works of art. Each volume in the series contains illustrations of every page in the original photobook....'. However, the majority of the images in the book are not even the size of a single page.....and the book size itself is quite small at approximately 10 x 7 inches. On many pages, the original Atget book is reproduced with four pages on the one page of the Errata Edition with images of the photographs measuring less than 2.5 x 3 inches.

I fully understand that the Errata Edition is not simply for photo enthusiasts, but was also meant for serious study, and that this would mean including every page so that a feel for the flow of the original could be appreciated. Nonetheless, the very small size of some of the images in the book markedly detracts from the ability to enjoy the photographs. The book would have been far more succesful, in my opinion, had they simply reproduced the Atget book at its original size, page for page, and added the original essays as well as the new essay for the Errata volume to it. I do understand the logic for producing it in the way they did, but, in my mind it simply doesn't hold up as a book that I want to own. The artifact was given far more importance than the artwork itself. Don't get me wrong, the current Errata edition might be the perfect presentation for some uses, but, to me, it does not hold up as a way to appreciate the artistry of the original.

The Creative Digital Darkroom

I love Photoshop books. I've got tons of them. But, other than the requisite book explaining how to use the new features when an upgrade to Photoshop comes out, I have pretty much stopped buying them. For some time, I haven't found any books that seem to be directed to a true intermediate to advanced level, and most of them seem to rehash the same old things. At the most, I found that I could get some interesting tidbits from continued book purchases, but generally would have to wade through a good deal of the same old stuff to get there....it just wasn't time effective.

On somewhat of a lark, I recently made my first Photoshop book purchase in some time, entitled The Creative Digital Darkroom. The reviews of the book seemed to indicate that it was for intermediate to advanced users and I decided to give it a whirl, despite the fact that I had heard that before. After all, this one was by Katrin Eismann and Sean Duggan, and if you can't give a book by Katrin Eismann a chance, whose book can you give a chance to?

Well, it turns out that it is superb! To be honest, I have not yet finished reading it....but that is only because I am going through it slowly and carefully. Even the 'basic' review portion has lots of tidbits that are useful, including various techniques that I hadn't know about and which I have already put into use. Going through the book, I can see that there is a good deal more information that will be put into use. This text really is directed to the intermediate to advanced Photoshop user.

If you haven't bought a Photoshop book for some time (and even if you have), do yourself a favor and have a look at The Creative Digital Darkroom. This one is four thumbs up!

Louie Palu: Cage Call Revisited

Back on November 20th, I wrote about Louie Palu's project entitled "Cage Call". At that time, I lamented the fact that I could not find a copy of Cage Call, which had been published by The Blue Sky Gallery in Portland, to purchase, despite searching all the usual spots. Imagine my surprise when I just recently found out that Mr. Palu was one of three photographers that had been awarded a monograph at Photolucida, as part of their 'Critical Mass' competition. Not only had it been awarded, but it was already published and available from Amazon in softcover for about $16.

I just received my copy and it was worth the wait. Rather than repeat my prior post, why not just check that post out. As expected, the images are superb and the accompanying text and interviews by Charlie Angus really round out the monograph. I was not disappointed!

Here is a link to Mr. Palu's website, and here is an Amazon link to the book.

Enjoy!

Men Like Me

I like Bill Jay's work and have written about him before. I like his writing, I like listening to him, and I like his photographs. Combine his images together with his writing and you have a book you can sit down with and really enjoy. I am referring to his most recent book entitled "Men Like Me", which I recently purchased from Photo-Eye.

In his adopted beach town, Jay finds a kinship with a relatively unlikely group of people; those that are homeless and down on their luck. The treatment of his subjects is unique in that it is not his goal to make any type of statement about homelessness, rather, he wishes to depict who these people are on a personal level because he senses that he is very much like them. His portraits and anecdotes depict a deep respect for people that truly became his friends and seemingly came to understand him as much as he grew to know them. As he says in his introduction,

"Perhaps it is necessary to state that this is not a documentary project in the sense of 'concerned photography'. I know next to nothing about the homeless; I have not conducted any research or gathered any statistics; I do not interview the men about the reasons for their circumstances; I have no idea whether or not the men I encountered were typical. This is a personal not a political project. I am not advocating anything, nor shedding light on a social ill nor making any social statement. For me, this project had a more important purpose and result: the discovery that these really were men like me.

The book is a relatively short read. But during that timespan you will both want to laugh as well as cry.

These days, many portraits are heavily retouched to give skin and facial features a perfect, sometimes ghostly look. Not so in these portraits. They are sharp, even to the point of exaggerating the human flaws in skin and hair. These are real people.

At the end of the introduction Jay states, "I want them to believe that the images were taken with respect and often with affection. I hope it shows."

Indeed, it does.

Art & Fear, Epilogue

Honestly, I really wasn’t planning to do a third post about Art & Fear. However, the book so nicely addressed some of the excellent comments that have been made, that I felt the need to take the opportunity to add a few more quotes.

Mark raised the superb question (check out his blog called Notes From The Woods) that:

“………I can understand the perfection aspirations of our own work - but what about when we look at another photographer's image, perhaps one of our "heros" - and label that as perfect? We establish a previsualization of "perfection" and then attempt to get there ourselves. Then we will probably subject ourselves to disappointing image after image trying to achieve, perhaps not a replication of the same image, but one that achieves that status in our own eyes…….”

Bayles and Orland make a wonderful observation about comparisons to other, perhaps more accomplished and/or famous, artists:

“But the important point here is not that you have – or don’t have – what other artist’s have, but rather that it doesn’t matter. Whatever they have is something needed to do their work – it wouldn’t help you in your work even if you had it. Their magic is theirs. You don’t lack it. You don’t need it. It has nothing to do with you. Period.” (page 34).

I realize this is not exactly a specific response to the comment, as Mark really questions the use of another’s work as a standard of perfection as opposed to comparing one’s inner talent to someone elses, but, still, it partially addresses the issue in what I feel is a rather remarkable way.

Dave wisely commented that:

“I have taken to sitting in my local state park and concentrating on the things that I feel the park offers to me personally. Birds, sounds, feelings etc. and working on getting the shots that best portray that emotion to me. I know folks that visit want to see the main attractions and mostly they blow through the area without giving thought to what is going on around them. That is the part that makes up "my personal portfolio". From that point on if someone chooses to like my work, then they are getting a piece of me.”

Somewhere in Art & Fear there is a comment that uses your phrase almost exactly, about people getting a piece of the artist when they like or buy an artist’s work. I wish I could find the exact phrase they used…..I wonder why I didn’t highlight that one. However, I did highlight this quote that also applies:

"And so you make your place in the world by making part of it – by contributing some new part to the set. And surely one of the more astonishing rewards of artmaking comes when people make time to visit the world you have created. Some, indeed, may even purchase a piece of your world to carry back and adopt as their own. Each new piece of your art enlarges our reality. The world is not yet done.” (page 69).

Adiemus (check out her blog) notes:

“I paint, and although I start a painting with a concept in mind, by the time it's 'finished' (is it ever finished?) although it may still convey a sense of the original concept…….”

Is it ever finished? What a great question….one that has apparently plagued many artists, including Bayles and Orland who say:

“The really critical decisions facing every artist – like, say, knowing when to stop – cannot be learned from viewing end results.”

Again, I just felt like I had to throw a few more quotes out there. Get the book. ‘Nuff said. I promise that is the end. Tomorrow, no more Art & Fear!

Art & Fear, Part II

If you haven’t already read yesterday’s blog entry (Art &Fear, Part I) I would like to humbly request that you back up a day and give it a quick read rather than start in the middle……Great..... all caught up…then off we go.

In a prior post I had expressed concern about the fact that once you have made more than one image you were likely to have favorites. Bayles and Orland address this, noting that:

“The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars.” (page 5).

In regards to the fact that the more one learns and understands, the more questions get asked:

“Having come this far, it’s tempting to try to bring this idea to closure by resolving all those leads into a single clear, concise, fundamental, finely honed answer. Tempting, but futile. Answers are reassuring, but when you’re onto something really useful, it will probably take the form of a question.” (page 113).

And, ultimately:

“In the end it all comes down to this: you have a choice (or more accurately a rolling tangle of choices) between giving your work your best shot and risking that it will not make you happy, or not giving it your best shot – and thereby guaranteeing that it will not make you happy. It becomes a choice between certainty and uncertainty. And curiously, uncertainty is the comforting choice.” (page 118).

I truly wish that I had read this book much sooner. It is an interesting read. Interesting, that is, if you are not a maker of art, but, rather, an observer of art. To the observer on the outside with a desire to examine the artistic process, it will surely give insight into what thoughts and struggles go on in the mind of an artist trying to achieve his or her vision of the world. Perhaps more importantly, it goes far beyond interesting…I would even say enlightening….if you are a maker of art. If you are “living an artistic life” and are “on the inside” trying to fathom how to best understand and deal with the inner conflicts and uncertainties that producing art entails then sitting down with this book is surely more than interesting; it is a way to gain a greater understanding of one’s artistic self.

Art & Fear is certainly a wise investment at only 10 bucks. And if you are anything like me, in very short order your copy will be dog-eared, highlighted, underlined or whatever it is that you do when you want to be able to come back to something time and again.

Art and Fear, Part I

If you have read some of my recent blog posts you have probably noticed that they've been a bit on the philosophical side lately. That is probably because I have been reading Art & Fear by David Bayles and Ted Orland.

First things first. I have to thank Billie for coaxing me into finally buying and reading the book. It had been on my “To Read” list for some time, but ended up being one of those books that I just never seemed to get to. Billie’s comments on some of my prior posts convinced me to finally get to it. It was clearly a mistake to have put it off for so long!

Anyway, turns out I’m perfectly normal. All the issues that concerned, confused and, even to a certain extent, tortured me are all par for the course….the course of (OK, having read the book, I can say it) being an artist. It would, after all, seem that if you take your photography seriously you are an artist, even if you don’t make your living from it. It would appear that all the fears and confusion that I have ever had regarding my photographic work is all normal, expected and even, dare I say, healthy and perhaps even integral to being an artist.

I believe that, without question, this is a book that all artists should read. And I think that the definition of "an artist" could and should be used quite loosely here. My wife does a good deal of objective, formal research writing and I have even recommended it to her. She writes. Good writing is an art. And, truly, you have to immediately love any book that starts off with the following quote from Gene Fowler. “Writing is easy: all you do is sit staring at a blank sheet of paper until the drops of blood form on your forehead”.

It is exceedingly difficult to talk about Art & Fear without quoting from it. I thought what I would do is to choose several of the issues that have been troublesome to me (and that have been reflected in past blog entries) and use quotes from the book as commentary that addresses those particular issues. I will clearly note the material that is being quoted from the book.

First, and this would fall into the fear and uncertainty category, I tend to look at my finished work and think that it isn’t ‘good enough’, that it could be better, that it could ultimately be perfect if only I made a few more adjustments etc., as described in this post and in this one as well.

David Bayles and Ted Orland address this issue several times:

“All that you do will inevitably be flavored with uncertainty—uncertainty about what you have to say, about whether the materials are right, about whether the piece should be long or short, indeed about whether you’ll ever be satisfied with anything you make. Photographer Jerry Uelsmann once gave a slide lecture in which he showed every single image he had created in the span of one year, some hundred-odd pieces—all but about ten of which he judged insufficient and destroyed without ever exhibiting.” (page 19)

“If you think good work is somehow synonymous with perfect work, you are headed for big trouble.” (page 29)

“Nonetheless, the belief persists among some artists (and lots of ex-artists) that doing art means doing things flawlessly—ignoring the fact that this prerequisite would disqualify most existing works of art. Indeed, it seems vastly more plausible to advance the counter-principle, namely that imperfection is not only a common ingredient in art, but very likely an essential ingredient” (page 30).

“To demand perfection is to deny your ordinary (and universal) humanity, as though you would be better off without it. Yet this humanity is the ultimate source of your work; your perfectionism denies you the very thing you need to get your work done.” (page 30).

In this post, I had raised the issue of working on a long term project. An excellent comment was made that mentioned the difficulty of working for long periods of time when there is uncertainty regarding the outcome. This uncertainty can sometimes erode motivation. Regarding this issue of uncertainty Bayles and Orland comment:

“Uncertainty is the essential, inevitable and all-pervasive companion to your desire to make art. And tolerance for uncertainty is the prerequisite for succeeding” (page 21)

To Be Continued

Public Service Announcement

Somehow or other, I managed to not know about Alec Soth and his work until recently. If you haven’t seen his photographs, you should consider having a look.

Since discovering his rather unique style, I have been wanting to buy a copy of his monograph “Sleeping By The Mississippi”, which was published in 2004 by Steidl Publishing. Unfortunately, the book is no longer available from either Amazon or Magnum, the two sources he notes on his website. Searching for a copy at the usual locations such as Abe’s Books, e-Bay etc. is not for the faint of heart, as copies are priced at $300 and up. However, I am here to report that Tim Whelan, whose brick and mortar store is right down the block from The Maine Photographic Workshops, has copies available for 50 bucks. I received mine a few days ago and, at the time I made the purchase, I know he had others available.

Incidentally, Tim also intermittently has very interesting photo memorabilia for sale on e-Bay. For approximately $20 each I have purchased two mint condition posters, one from a John Sexton gallery show and the other from an Arnold Newman show,.....both autographed by the photographers.

So, where do you go if interested in Sleeping By The Mississippi? Right here, about halfway down the page. Enjoy!