The Art of Saying


The art of seeing has long been co-opted by the photographic community but its first use was likely Aldous Huxley’s unrelated 1942 book. We use this phrase to describe our own photography; that we possess some sort of gift, that our art is the ability to see and capture. I propose an end to this nonsense.

Art arises from artists who have good stories to tell about their subjects. Good composition is mere training and repetition, as evidenced by the many wonderful smartphone images I’ve seen by non-photographers and non-artists. A traditional operating mode for nature and landscape photographers is to find something beautiful; to use a wide angle lens; to stick something large, unrelated, and often obtrusive in the foreground and to keep the fingers crossed for an “epic” sky (apps can help you determine this but they can’t help you make art).  But when photographs lack a backstory and/or deeper interest (which admittedly may vary greatly depending upon the viewing audience) the most likely reply from viewers will be a terse “that’s pretty” (a death knell for the artist, a potentially positive outcome for the camera operator).

As an artist, I’m still trying to find my voice after more than twenty years of working at it. I’m still in an “entry level” position. “Overnight success” has proved apocryphal; artist is for the long-haul. If you love what you do and have a story to tell, what’s the rush? It takes years to understand what you need to and want to say and to learn how to say it. There is no competition despite the apparent F.O.M.O epidemic. Good cameras and software and a large social media following will not ensure artistry or success. Having good ideas that are worth expressing is probably a better path to a long, artistic career.

You are visiting the blog of landscape photographer Michael E. Gordon. For additional photos and information, please visit his website or follow him on Facebook and Instagram.


Upcoming Exhibitions: Autumn 2015

AUtU2015 I will be exhibiting at a few upcoming California desert art festivals (Coachella Valley) and would love to meet and share my work with you!

First up is the Rancho Mirage Art Affaire taking place on November 7-8 in beautiful Rancho Mirage. One week later, November 14, will be my first Art Under the Umbrellas show of the season (it runs about eight Saturdays each winter). This wonderful little event takes place in beautiful Old Town La Quinta with a spectacular mountain desert backdrop. I’ll be exhibiting again at Art Under the Umbrellas on Saturday, November 28 (Thanksgiving weekend). I’m looking forward to these shows and hope you will consider joining me for great music, outstanding scenery, and superb art.

And in case you missed it, my NatureLA:Off the Beaten Path (Yosemite) exhibition runs until November 15 at the G2 Gallery in Los Angeles.

Upcoming exhibitions are always listed on my website – please stay tuned!

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 on Facebook and Google+.

Announcing Visionary Photography Workshops

Guy Tal and I first met each other about ten years ago shortly after he’d left California for Utah. During the ensuing decade, we shared together many wonderful photography expeditions to extraordinary places and discussed at length our goals, philosophies, and hopes for nature and landscape photography as fine art. Despite our differences, we shared many commonalities and philosophies and began to plan our first workshop. In 2004, we hand-picked a select group of photographers for a free Grand Staircase-Escalante NM (Utah) workshop where we could test and vet our curriculum. It was a wonderful start with a great group of photographers, and we’ve since spent the last eight years teaching, guiding, and inspiring scores of photographers at all levels while continuously refining our philosophies and teaching methods. In 2011 we began hatching a refined Visionary concept, and in February 2012 offered our first (sold out) Visionary Photography Workshop in Death Valley National Park. It was a tremendous success, and it prompted us to consider additional offerings in new locations.
The success (or failure) of a photography workshops hinges on its leadership and planning. After eight years of teaching and guiding, we had heard the horror stories from our participants about bad workshops and bad leadership, and desired to never have our names associated with similar stories. Meticulous planning is part of every Visionary workshop. There is no “figuring it out” as we go along, no details are left uncoordinated, and we don’t use our workshops to build our own portfolios. We take great pride in the Visionary program we’ve put together, and we hope you’ll join us for a Visionary Photography Workshop in 2013.
You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.

Visionary Death Valley Photography Workshop Epilogue

Visionary Death Valley Photography Workshop, February 2012

Guy Tal and I concluded our February 2012 Visionary Death Valley (VDV) photography workshop last Wednesday on Death Valley NP’s Eureka Dunes, and to summarize our workshop with just one word: INCREDIBLE. We had a most wonderful group of participants who were engaged and inspired. We feel incredibly fortunate to be able to share our passion for creative photography and Death Valley National Park with a select group of individuals who are eager to move forward on their creative journeys.

Our workshop explored and photographed some of Death Valley’s most well known features – the vast Dante’s View; the surreal Badwater; the cosmic Racetrack; the sensual Mesquite Sand Dunes – as well as lesser known but no less extraordinary locations that are exclusive to Visionary Death Valley. VDV blends the perfect mixture of field photography, field classes, and a post-production classroom session (with laptops and projection) along with inspirational and philosophical discussions designed to challenge photographers to rethink the way they work and photograph. There are many photography workshops and instruction manuals that teach craft and technique; we’ve designed Visionary Death Valley to lead photographers towards the heart of their art.

A few workshop highlights: A brief but intense sunrise at Dante’s View; a downright ridiculous flaming sunset on our last night out with the Eureka Dunes extension group (see image at left); investigating incredible marine fossils and petroglyphs; the largest engulfing dust storm I’ve ever experienced in Death Valley (this occurred during preparations a few days before we first met our group); and F18 fighter jets screaming over Eureka Dunes at low elevations (it’s a violation of the wilderness experience, yet hard not to be awed by).

Guy and I would like to sincerely thank Anil, Annette, Bob, Don, Jon, Michael, Paige, Ron, Stephanie, and Tina for being part of the first of our Visionary workshop series and for being wonderful students and humans. We truly enjoyed your company and learning about each of you over those tiring but exciting days. We wish you well on your creative photographic journeys!

Our next Visionary Death Valley workshop is scheduled for November 29 – December 4, 2012 and you are all invited. We are also currently in the planning stages of Visionary Capitol Reef (Utah) in 2013. Please stay tuned for more information.

You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.

Little Jewels

Some years back, I was fortunate enough to take in an André Kertész exhibition here in Los Angeles (I can hear a few readers saying “who in the heck is André Kertész?” Photographers: Please do yourself a favor and learn about him and his work). Beyond the brilliance of his photographs, what struck me most about the exhibition was just how small the prints were. Kertész worked with mostly hand-held small(er) format cameras, and either contact printed his negatives (contact prints are the same size as the original negative) or made very small enlargements (what we might today call “tiny”). What I learned from that experience was that by their very nature, small prints command the viewer to move in, get close, and enjoy a very personal experience with the print (I again experienced a similar sensation a few years later at an Edward Weston exhibition; his, too, were mostly 8×10″ contact prints). On the contrary, large prints have the unintended consequence of moving the viewer away from the image, both physically and possibly emotionally. Indeed, some images can be printed massively and will still dominate the viewers emotions and attention, but I’d suggest that this is more the exception than the norm.

Little JewelsTry this experiment with your own photographs. Printed small, every one of them becomes like a little jewel. I recently made an 11-print sale (all framed); six large, five small. Very small! These five were custom sized to fit very specific bookshelf spaces. Mind you, I make small proof prints all the time, but it’s a wholly different experience to make such small prints and then to frame them as the finished product! These five are finished with hand-oiled solid walnut frames, and I was taken with their tiny beauty (photo at left). Despite their diminutive size, one is commanded to move close, hold the frames, and carefully inspect all the details (right down to the framing). NO large print has ever moved me the same way. I learned this first from that Kertész exhibition, and I am reminded of it again today with my own small pieces.

I write all this as my largest-ever print (34×80″; yes, that’s 7 feet wide!) is currently at my finishing lab awaiting treatment!

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.

Art from the Pit

Art from the Pit

Art from the Pit

Nope – this post has nothing to do with juicy tips from the trenches. Although it may end up being the first of many Art from the Pit posts. What the hay am I talking about?

I have a sweet and loving pit bull named Mojave. You can read a little about her story here. Despite her sweetness (no different than any other pit bull well-treated by humans), she has jaws of steel and enjoys crushing containers, cans, basketballs, wood…you name it. Pit bulls enjoy exercising those fat muscles in their heads and relish in the careful disassembly of most objects, and Mojave is no different. So I’ve decided to start photographing her ‘works of art’. It’s an aluminum cat food can today, but it could very well be a glass container tomorrow….

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website

On Exhibit: Four Olives Cafe

The American DreamFourteen photographs from my black and white DESERT series will be on exhibit at Four Olives Cafe in Long Beach, California during the month of February 2008. I invite you to join me on Friday, February 1 at Four Olives Cafe for the opening. February 1 is also First Fridays, so you’ll have the opportunity this evening to see lots of great art while listening to live music.

Four Olives CafeFour Olives serves excellent food and wine in a quaint and comfortable atmosphere. It also features some great music. In fact, one of my blues favorites, Doug McLeod, is playing at Four Olives on January 23.

I hope to meet you on Friday, February 1 at Four Olives Cafe!

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.