As i have previously stated in class, at first i was somewhat put off by this book.  Since i concentrate on nature and wildlife photography the images and "contemporary art" of photography expressed in the text was not immediately appealing to me.  But, as the class progressed and are discussions on the book expanded i slowly grew a greater appreciation for the book and the artists within it.  I think the the two chapters and type of photography that connected best with me was the third chapter on deadpan and the sixth chapter on moments in history.  What strikes me most about deadpan is the incredible scale and clarity that the shots are taken.  As a wildlife photographer, clarity is one of my main concerns.  As for moments in history, i believe this chapter once again really speaks to my style of photography by documenting social and ecological disasters.  I believe photography is an incredible tool for spreading knowledge and awareness of these various disastrous situations.  

Once again i have done all my photos out at the genius reserve.  My approach to the photos has not really changed.  I am still looking to capture wildlife in rare moments and express the relationship between humans and nature.  Although most of my photos have concentrated purely  on wildlife, i am starting to shoot photos that express more human characteristics such as the barn on the reserve.  I also hope to shoot wildlife living close to and within human confined areas.  I wish to ask the class if they have any suggestions on how to progress towards my idea of expressing the relationship between humans and nature, and what they think is working well with my project and what i can do without.  In particular are the wildlife shots getting too repetitive and should i find another direction to concentrate on or suggestions to improve my current path.  Thanks, Holt.

P.S.  the details of many of these shots cannot be seen in such a small format so i will print them out for class in a larger format when i am better.  see you all soon.

“The world is as terrible as it is beautiful” Richard Misrach

Richard Misrach originally began photographing with a 35mm camera with the motivation of sparking social change.  After his graduation from the University of California, Berkeley in 1971 he consistently photographed in color film with an 8 x 10 camera.  Misrach often conveys disturbing subjects that aim to display man's disastrous effect on nature.  However, although the subjects may often times be disturbing, Misrach also places emphasis on the power of aesthetics to effect change which can be seen in beautiful and epic photos of complex landscapes that evoke astonishment and awe.  Misrach is famous for his American Desert work which displays various scenes of fire, flood, military scarred terrain, and dead animals.  More recently, in his project entitled On the Beach, Misrach focuses on water, beaches, ocean, and sunbathers from a high 'godlike' vantage point.  These images are taken in vast expanses and have no horizon line.  They depict people as small and isolated figures in an immense scene to remind the viewer of the delicacy and relative insignificance of humanity in the face of all encompassing nature.

Genius Reserve 2. Work in Progress.

Genius Reserve.