Immense, Silent, and Sacred

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

The Joshua Tree Fine Art Folio

The Joshua Tree collector's folio - Michael E. GordonI am very pleased to announce the official release of my new The Joshua Tree collector’s folio. This beautiful folio features twelve of my photographs from The Joshua Tree collection and measures 11×14” – conveniently sized for easy framing – with each image measuring approximately 8×10”. These beautiful prints are a delight to hold in the hand and they’re made using the same archival materials and techniques as all of my gallery prints, featuring rich warm/sepia tone carbon pigment inks on delicately textured fine art German Etching paper (a perfect match to the texture of the Joshua tree). Each open-edition folio is sequentially numbered with a title page, artist statement, and all twelve photographs arriving in a handsome embossed die-cut art paper enclosure.

My good friend and fellow photographer Guy Tal had some flattering things to say about this new folio on a recent blog post“I can say without hesitation that this collection is among the most beautiful things I own…If you are one who appreciates the power of an exquisitely conceived and printed photograph, you will cherish this portfolio.” Thank you, Guy!

The Joshua Tree and  Desert fine art folios make wonderful holiday gifts for those who appreciate fine photography and the well-crafted print. Order yours today in time for the holidays!

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, Google+, and  Twitter.

Par Excellence

I have always been a competitive individual. In my earliest years, I dreamed of making the annals of baseball history. In my early adult life, as a guitar player of many years and co-writer in an original band, I loathed the idea of sounding only as good as other guitar players and writing average music. In later years, I chased challenging routes in rock climbing and mountaineering and aimed to have endless stamina and climb in good style. I haven’t yet discovered what drives my competitive nature, but being second always seemed like not winning to me. Call this character trait what you will, but I believe without a doubt that it has fueled my drive for photographic excellence. Whether anyone else believes in my excellence is irrelevant. My goal has never been to be a “better” photographer than others, but to instead always be continuously pushing my photographic boundaries and striving for excellence.

As we watch the 2012 Olympics and the world’s most incredible athletes dig their deepest and fight their hardest – and breaking numerous world records while doing so – we are reminded that there will never be any substitutes for vision, hard work, and dogged determination. Those “overnight” sensations you only recently learned about have been quietly training for years in the background, while others have managed to effectively use smart marketing and social media to immediately convince others of their excellence. Even if there were a metric by which your work could be judged, whether anyone else believes that you are the “best” at what you do is not the point, but the moment you lower your standard and settle for “good enough”, you deny your creativity and greatness.

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I’m not the most prolific blogger, I know, but this post marks #199 since this blog’s humble beginnings on September 20, 2006. 200 is no special number, but it’s a nice even number which took some time for this blog to reach. What should I discuss? I humbly request your topic suggestions for my 200th blog post.

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There are only two spots remaining in our November Visionary Death Valley workshop. Guy Tal and I invite you to join us for more in-depth discussions on excellence, creativity, style, and more during this exciting adventure.

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 TwitterFacebook, and Google+.

The Heart of the Matter

Creosote Dreams

Great photographs transcend place and time. Celebrated American photographer Minor White well understood this concept when he wrote about photographing “things for what else they are.” While there are numerous variations of this quote attributed to White, the message is definitive: Powerful and timeless images occur when the photographer reveals something about his subject that we cannot or might not see with our own eyes. This concept underscores why a photograph like Edward Weston’s Pepper No. 30 is regarded as one of photography’s masterpieces. Although it literally is, critics, curators, and viewers concur that this is no simple portrait of a bell pepper. Similar is Weston’s portrait of a toilet. But is it merely a toilet?

Photographing things “for what else they are” has become a fundamental aspect of my work. After spending a sufficient number of years chasing locations and light, I essentially grew tired of the formula and my subsequent results. It was too easy and creatively unfulfilling: Pick a scenic location, point the camera reasonably well, and hope for sweet light and clouds to transform it into something more meaningful. Yet I would repeatedly return home and develop my film only to realize that the photographs I’d made did not live up to or even remotely equal the experience of simply being there. Location-based photography leaves most everything to chance – find an awesome landscape, scramble for a foreground anchor, and pray for clouds and light – but little for your viewers to ponder and contemplate. One eventually yearns for more when the most common refrain regarding your photographs is “oh, that’s pretty”.

Have a poke around some of the web’s most popular photo-sharing forums to see how well you can differentiate one photographer from the next, or if you can differentiate one Icelandic or Patagonian landscape from another. In his ‘Letting Go of the Camera’, Brooks Jensen suggests that “[a] great deal of what passes as fine art photography today is not based on vision, talent or craft; it is based simply on access.”

I’ve had life-long love for the geology, plants, and animals that make up the grander landscapes about which I am passionate. I have studied academically all of these subjects and at one time even fancied a profession in wildlife biology or geology (someone once mistakenly told me that photographers were better paid). I’m enthralled by geological processes, interrelations of plants and animals, and the way they have all adapted to each other (and to other forces), so it’s no accident that I spend a lot studying and photographing the smaller and deeper details. Most everyone already knows how beautiful and extraordinary our planet is. I feel no artistic compulsion to reinforce the obvious, so I’ve focused my work on sharing the unusual and fascinating aspects of my world. Not everyone can or will share my love for my subjects and photographs, and I’m perfectly okay with that. This is precisely what defines ones work as personal and unique.

Photographers that are sensitive to the environments and subjects which they photograph create images that offer opportunities for insight and contemplation, and great photographs should always tell us something about their maker. When the photograph is about location, we often learn more about geography and the quality of light and clouds than we do about the photographer. Make your photographs about you. Show us something about your subjects that we might not perceive with our own eyes.

Guy Tal and I invite you to join us for inspirational and in-depth discussions on style, creativity, and other philosophies during our Nov 2012 Visionary Death Valley workshop. Only a few seats currently remain…

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 TwitterFacebook, and Google+.

Photo: Salvation: The Joshua Tree

Joshua tree (Yucca brevifolia); Mojave National Preserve.

I’ve lived within a short drive of Joshua trees my entire life. Only a handful of years ago did I begin to consider these “trees” (it is a Yucca plant, not a tree) as something more than ordinary blips on the landscape – they are very common throughout the Mojave desert. I began to observe tourists posing with beautiful specimens, and realized that all along I had been taking for granted the remarkable Joshua tree. I’d spent years walking among them and recreating and photographing in their shadows, yet I had rarely trained my camera on the Joshua tree itself. They all looked ordinary and the same. And then one day my eyes were suddenly opened to their incredible uniqueness and individuality, and I began to seek out extraordinary specimens to photograph.

It’s quite difficult to find unique qualities in individual pines and aspens, for example; they all look very similar, and the unique aesthetic qualities each tree might possess are primarily hidden by their sameness. Quite the contrary with Joshua trees. Take a walk in any Joshua tree woodland and you will immediately observe that almost no two trees are alike. My wandering imagination got the better of me, and I began to see these specimens as individuals like humans, and sought to capture them in a portrait-like fashion. The Joshua Tree series was born.

Technical details: The Joshua Tree photographs are made with a 4×5″ view camera and black and white sheet film. Almost all the photographs have been made with a century-old Wollensak Verito lens which lends a soft-focus pictorial quality to the photographs. Why this approach over a modern lens and complete sharpness throughout? I like to involve and engage viewers. Sharp and detailed photographs don’t often leave much room for the imagination; there are no spaces to fill, no questions to ask, no thoughts to ponder. Easy ingestion and easy abandon, if you will, with one quick sweep of the eyes. I find that combining a mixture of sharp and soft elements side-by-side keeps my eyes and mind engaged; collectors and fans of these photographs seem to agree. I hope that you’ll enjoy them, too.

Purchase a print of this photograph for as little as $39…

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

Valley Portal

I made this photograph on Monday, December 7, during a beautiful winter storm in Yosemite Valley (see this post for more info). Frankly, I haven’t worked in such poor conditions for some time! When I first spied this scene, it was windy and snowing heavily. I did not let this stop me from setting up the camera, yet for nearly an hour following the setup, I fought to expose a sheet of film. The snow was deep; my dark cloth was blowing around; my ground glass and lens kept fogging; snow kept landing on the front element of the lens; I was covered in snow; and ultimately, it was simply snowing too heavily to make the photograph I had hoped to make. But I couldn’t quit it, as the idea of this image gnawed at me. So I fought the conditions for an hour, using randomly placed expletives along the way, and finally got my negative exposed. And then the idea of the image once again bugged me and bugged me until I finally got the chance to develop film a couple of days ago.

And now I am at peace. When I have business to attend to and can’t get away, this photograph will serve as my magical portal to the Happiest Place on Earth.

Happy Holidays, folks! Thanks for staying tuned to my blog during 2009!

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

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Rare Earth

Factory Butte and Henry Mountains photo, picture. Large format black and white photograph.I made this photograph before dawn in Utah’s Caineville Badlands (east of capitol Reef National Park) one October 2009 morning. That’s Factory Butte on the right and the Henry Mountains on the left. Nearby, my good friend Guy Tal was making his own photograph. Out of sight from each other and enveloped by silence, our minds quieted. And all was right in the world.

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

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