I am pleased to announce my second article (Photography is Easy. Art is Hard) and nine photographs in the July 2020 edition of Medium Format Magazine, the #1 magazine dedicated to Medium and Large Format photography enthusiasts. This monthly magazine is well-written, elegantly produced, and contains many great photographs from all genres in more than 100+ pages in every issue. Thank you for looking.
I am pleased to have an article and eight photographs in the May 2020 edition of Medium Format Magazine, the #1 magazine dedicated to Medium and Large Format photography enthusiasts. This monthly magazine is very well-written, elegantly presented, and contains many great photographs from all genres in more than 100+ pages in every issue. Furthermore, Medium Format has graciously provided me with my own column – The Inner Landscape – where I will share thoughts and personal process from the creative and artistic side of the medium. I look forward to seeing you there!
I offer my sincere thanks to Susan Burnstine for writing about my work in her monthly column and featuring four of my images in the August 2019 issue (#231) of Black + White Photography magazine (U.K.). The full print magazine is available at Barnes & Noble and at international newsstands. A digital version can be downloaded here. You can also click here to read this article only (content provided COURTESY OF BLACK & WHITE PHOTOGRAPHY MAGAZINE (UK), August issue #231).
After reading the article, please check out Susan’s own critically-acclaimed work. She is one of the few photographers today avidly pursuing alternative processes to create an idiosyncratic and deeply personal visual landscape. I’ve long admired her unique style and process and dream-like images. Thank you, Susan!
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“Gravitational Waves” opens SHOTS Issue No. 140 (“Forces of Nature”) with a beautiful double-page spread. Thank you, SHOTS magazine! Hang a print on your wall, own it and 15 other great images in this book, or enjoy it on your smart phone or tablet via digital download. Thank you for your purchase.
Photographers and those who enjoy philosophical meanders, please read on….
I’ve long been looking for an opportunity to discuss the language and semantics photographers use in the pursuit of their art and craft. It’s not my magazine and I have no stake in it, but I’m not fond of the name SHOTS. Since it’s inception, photography has struggled as an art form (yes, art form) and has always played second fiddle to painting; a poor man’s (or presumably less creative man’s) means of pursuing art (if you allow me to call it this). The belief being that as a mechanical object with a button to push – like using a smart phone – there could surely be no art or craft involved: it’s just a snapshot of whatever fell before the camera. But creative photographers and those who appreciate creative photographic art know a far different reality. So let’s take every opportunity to use good and proper language to educate our viewers that what we do is serious art.
* My creative pursuit involves a communion with my subject(s); there is no conquest and I “take” nothing.
* The photographs I make require contemplation, thoughtfulness, and good composition. The very same is true of painters and painting.
* Painters don’t throw or blast paint at their canvases, I don’t click or snap shots.
* I make photographs *
The words we use most definitely matter.
I have an essay and two images in the January-February 2018 issue (Artist’s Corner) of Desert Light Magazine, a publication of the Mojave National Preserve Artist Foundation. You can find it on pages 12-13. Thank you for looking and reading.
It’s an honor to be featured in what I believe is the best online landscape photography magazine today. On Landscape is a British subscription-based magazine with most of its content focused on works and artists from across the pond.
I have released a beautiful 46-page 8″x8″ softcover book containing eighteen of my photographs exhibited during The National Park Service:100 Years-California Dreaming exhibition at the Viewpoint Photographic Art Center in Sacramento, California. These eighteen images span many years of my work in Death Valley National Park and Joshua Tree National Park.
Books purchased through my website are signed/autographed. Immense, Silent, and Sacred can be fully previewed at MagCloud. Please note than purchases through MagCloud are unsigned/not autographed. Digital downloads are also available.
It has never been easier or less expensive to own my photographs in print form (that’s a little more than $1 per photo). Many thanks in advance for your support and purchases!
You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website. You can also find Michael
I’m proud to announce The Insightful Landscape, a collaborative book featuring the photographs of twenty-six talented contemporary nature & landscape photographers, including Guy Tal, Joseph Kayne, Andy Biggs, Chuck Kimmerle, Tim Parkin, Gary Crabbe, David Leland Hyde, Youssef Ismail, Floris van Breugel, Rafael Rojas, Richard Wong, Alister Benn, Jim Goldstein, Jack Graham, myself, and more.
Buy your copy today and enjoy more than 150+ insightful, contemplative, and outstanding photographs in this beautiful high-quality coffee table book. Every purchase provides a charitable donation to the Cystic Fibrosis Foundation (one participating photographer’s son is fighting the disease). This is a not-for-profit publication and the photographers included in this book have all donated their images to the cause. The retail price of this published-on-demand book is actual manufacturing cost plus donation (no profits). As of this writing, the book has raised nearly $400 for CCF in under two weeks – please help us boost our donation to the Cystic Fibrosis Foundation!
High-quality previews are available by following the links below.
Thank you for your purchase !
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I am happy to announce the release of my new collection of work: Tranquil Waters. Featuring horizon-less waterscapes filled with color, these images evoke peace and tranquility and were made as personal meditations on moments in time. Water movement is the hallmark of this series. Wind played a significant part in most, and I played an important role in several: I disturbed the water surface. In addition to water movement, the camera was panned during some of the images and a handful were made from moving watercraft. This body of work has involved lots of fun and experimentation to achieve the look I was after. As with most of my work, this series will never officially conclude and will continue to grow in number over the coming years. Enjoy!
For those who like no-fuss product reviews and a quick cut to the chase: Paul Gill and Colleen Miniuk-Sperry’s Wild in Arizona: Photographing Arizona’s Wildflowers – A Guide to When, Where, & How is an excellent guide that belongs on your shelf if you plan to chase fickle wildflowers in Arizona.
Although most are climbing and hiking guides, I own quite a few guidebooks. And once one owns and uses enough of them, one comes to a determination about what they most like about them and what they’d do away with. Although I haven’t written any field guides, Gill and Miniuk-Sperry’s highly logical approach to content, layout, and design is the one I would follow. This guide is designed in a fashion that works perfectly for me: Detailed (but not too much; you still need to bring your creativity to the shoots); indexing by location, flower color, AND bloom calendar; a section on AZ’s wildflowers and how to predict them; and filled with inspirational photos and detailed technical info (including 17 different photography tip sections). This guide is a robust 224 pages and features over 280 color photographs and describes 60 locations with detailed maps & driving directions. Further, guidebooks that get handled a lot tend to fall apart quickly. Wild in Arizona has a 6″ x 9″ laminated glossy soft cover that I believe will hold up to a lot of leafing and thumbing.
This book is not just for photographers: Leaf peeping is everyone’s business, and the painter, naturalist, and hiker will find plenty about this book to enjoy. Gill and Miniuk-Sperry have also established a blog to share “eyes-on” reports about what’s currently happening in the [Arizona] field. They’ve been posting fall color reports recently, but come spring they’ll shift back to wildflower reports. What I really like about the book is that alongside the detailed location specifics, they’ve included a legend/key that indicates where you can expect to find specific flowers (right).
An honest review of a product should explain its shortcomings or at least recommend ways to improve it. Quite honestly, I’m at a loss to recommend decisive improvements for this guide. One minor point for me: I’m not a fan of unnatural-looking HDR photography as Gill appears to be (as evidenced by a number of his photographs within), but HDR-style photographs have no bearing on this book’s effectiveness or its quality as a guidebook. The captions are detailed and include HDR notes (and aperture/shutter speed/ISO), should novice photographers with limited technical abilities question why their photographs do not look like Gill’s.
Wild in Arizona: Photographing Arizona’s Wildflowers – A Guide to When, Where, & How will help you discover new places to experience and enjoy within Arizona while saving you an enormous amount of scouting time. At only $24.95, I’d call it a great value. Order online and you get an autographed copy!
You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.