The hardest part of being an amateur photographer is making the images look different. For the most part, I prefer outdoors photography. Here a gallery of some of this week’s images.
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Friday Photos
Tag: photography
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A Life of Photos – Part IV
Sometimes we would go on a trip and take photographs. In fact, in my time, a trip and a film camera seemed to go together. Because I was able to purchase a camera with money from my newspaper route, I took photos when on family trips. When Mother and Father went on a trip they would take my camera. You go on a trip, you take some photographs to develop and show the folks back home. When trip photos got processed, we would sort and edit them. Sometimes we made them into an album. Simply put, trip photography was a cultural behavior with a beginning and endpoint and fixed technology for a trip’s duration.
I’m speaking of the pre-internet days. We got our first home computer on April 21, 1996. We didn’t do much with online photography until May 3, 2008 when I bought my first digital camera to make it easier to post on social media platforms. Back then, the process to put print photographs online had some obstacles, importantly, the lack of a scanner, which was expensive equipment. In 2025, with mobile device technology, that is all pretty seamless. It was not so in the 1980s and ’90s.
This photograph of Grandma Miller’s rocking chair was from a trip my spouse and I made to Virginia in 1983. The image records the artifact. There is a backstory. We both sat and rocked in the chair. We had a discussion about it with my great aunt Carrie who had possession of the rocker when we visited. We discussed it being made from local willow trees. I’m not sure, but believe I have a photograph of Grandma Miller’s daughter, Tryphena Ethel Miller sitting in it. (Spelling is “Tryphenia” on the 1940 U.S. Census). The chair is both an Appalachian artifact and a family heirloom. Forty years later, I don’t know what happened to it, although it may still be sitting on that front porch in Cox Hollow where we first saw it and took this photograph.
On that trip, my great aunt said she did not want her photograph taken. So many years later it is hard to remember the conversation. I believe it had to do with the Appalachian belief or superstition that there was a connection between a photograph and one’s soul or spirit. I was not trying to steal a part of Aunt Carrie’s soul. I respected her wishes and did not take a photo.
Also on that trip, my uncle, spouse and I visited Grandmother Ina Elizabeth Addington’s grave. She died in 1947 of food poisoning. She was also the granddaughter of Grandma Miller. My uncle got teary eyed while we were there visiting his mother, so I did not take a photograph of the grave marker just then. We returned the next day for that. Discretion is an important part of trip photography.
While trip photographs serve as a form of aide-memoire that conjures our living memory of what happened, so often they get separated from memory and stand as orphans. Their dependence on the photographer and the specific trip is a consideration in curating any photographic collection. In this case, I will likely put all the 1983 trip photographs that are not in an album in an envelope together and label it. Likewise, when considering which images to keep and which to label by writing a short note on the back, we can make a big difference when the photographer dies or leaves images behind. Deciding what to do in cases like this is a main task of this project.
This photograph has a date of July 1983 printed in red ink on the back. I added the following text: “Grandma Miller’s rocker. Made of willow. Grandma Miller was Tryphena’s mother.” A person needs to know more than a little context for that to make sense. Compared to most prints I have, those are a lot of words. Working through how and what to write on the back of prints is another main task of this project.
I could say a lot more about trip photography. As an organizing principle, it just makes sense to put all the images captured on a specific trip together. That doesn’t answer the question of passing along one’s heritage. I need to flesh this out in a future post.
~ Read all the posts in this series by clicking here.
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Friday Gallery
Some of this week’s photographs.
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A Life of Photos – Part III
When in the 1970s I bought a Minolta SRT-101 35 mm film camera I took it on short trips to take pictures and see the results. Film and film processing were inexpensive. I felt I was a step above people who bought their Brownie camera at the drug store to capture moments of family events. I felt like a creative person with everything to gain by capturing images that weren’t necessarily of people, or remembrances of where I had been. So it is with this image which even 50 years later attracts my eye.
I don’t know why I drove by myself to the Coralville Dam and Reservoir that winter day. I have living memory of the experience. From looking at the dozen or so prints I took that day, I was trying something creative, the way an artist fills a sketchbook with drawings. I hadn’t given much thought to framing the image, or anything else a photographer might consider. I’m thankful I included the signage in the frame to help remember where the film was exposed.
The artist’s sketchbook is a good metaphor for these kinds of prints. While there is a result of the effort, namely the print, what is more important is the learning process I went through that day: the practice at capturing images. 50 years ago, I did a lot of practicing. When digital photography came along and became ubiquitous, we still practice, yet if we don’t like the frame we can immediately take another shot. With decades of experience, all of that practice comes into play with every shot we take.
These were days when we didn’t see the image until receiving the prints from the processor, maybe a week or more later. The disconnectedness of the print from the creative act added something. While there was living memory of the photo shoot, the printed result was divorced from that. The image stands on its own. That is one point of being creative.
When I received my share of the settlement with the elevator company related to Father’s death, I equipped our band with an electric guitar, amplifiers, a public address system and the Volkswagen microbus in this photograph. The photograph is proof the vehicle existed. The band equipment has long been sold, yet this photo remains as a reminder of what once was. It is also proof that I was learning a craft.
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Studies in Light
The more I walk on the state park trail, I notice the way light filters through the foliage. The familiar reveals itself as varied in presentation. It takes an active mind to notice.
Here is a series of photos about light on the state park trail. Some are subtle. Some, less so. They are all valuable as part of my journey with photography.
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A Life of Photos – Part II
In the end, photographs are objects. They have qualities — paper, coloration, moisture, processing technique, subject matter, and many others. In the beginning, one has to take a pile of them and just start organizing. This is especially true if during the collection process, there was no organizing principle, other than all photos go into a certain box labeled “photos.” It’s a process, or may be one once I have gone through everything on an initial pass. Here I’m talking about paper photographs.
Somehow I ended up with large quantities of photos, stacked one-on-one, placed together only by happenstance. Now I review them, one-by-one, to see where the journey leads. The immediate task is separating them into groups according to when they were taken. For example, there is a set of our young child getting a home permanent. They obviously go together in their own stack. Another stack is photographs I took when I lived in Mainz and from the travels around the area. It is a tall stack because I avoided thinking too much about them. They are easily grouped for later analysis. Going through them quickly is a necessary first step.
The hardest part of a review and sorting is to turn off memory while doing it. That was a stumbling block because I easily got distracted by memories evoked by the prints. I also felt I had to turn immediately to my autobiography and write about a set of photos. Now, one pile, one box, is sorted at a time. I group the objects together as they appear before me and as I recall how they went together.
Each pile could be a story in itself. To get through them, the stories need to be set on the sidetrack to be hooked up to the train later. Maybe it’s not optimal, yet it is a way to get from randomness to a better understanding of what I have available… and how each image might be used. This process will be about my personal cultural attributes, some of which I know, and some lie unawares in the conglomeration of personal cultural artifacts.
For now, I decided to make a weekly post about how my photography process evolves. The first one is here. Going forward, I will use the tag A Life of Photos. I hope readers will follow along.
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A Life of Photos
Our small family gathered around my writing table as I displayed a PowerPoint slide show of images downloaded from the Johnson County Democrats Hall of Fame event. Our purpose was to view the dozen images, yet also to consider my thousands of photographs with an eye toward using them for many purposes. Mainly, I like photography, and don’t want to leave the raw materials of a life behind in a disorderly fashion. I thought it prudent to get feedback on this project from other family members. This post springboards from our hour or so discussion while also considering the scope of the issue.
Using Photographs Now.
At 73 years I don’t have a lot of extra time to be looking at old photographs. The question that prompted our family discussion is what will happen to all the paper and digital photographs I collected in a lifetime when I am gone? So often I got hung up with that question it was difficult to live in the now and do something with them. There are plenty of things to do with old photographs in the here and now.
My use of photographs on this blog and on other social media platforms is straight forward. I take a photo of my morning coffee and post it with a brief message on BlueSky. When I take my daily walk I’m on the lookout for conditions that merit a photo and then post them either here or on BlueSky. If I attend a public event, I’m looking for a single image to use on this blog. This is what my quotidian life of photography has become. It is okay. The absence of posed photographs is noted and mostly, desired.
Photo displays could be added into current usage. For example, like the referenced slide show, I could create another set to be shown when we are next together. Likewise, it could be shared on Discord or another online sharing application. This would provide some motivation to both define projects in small bites, and to meet a deadline for producing a slideshow. Partly, this mimics the old film and print days when I got a packet of photos back from the drug store and wanted to share them with family and friends. It would also nudge me to find projects relevant to the audience. Social media has eroded interest in that type of viewing, yet with a little gumption it could easily be renewed and appreciated.
As I write my autobiography I post relevant photos on a magnetic white board. This is not a permanent shrine to my life and the people in it. It is a living thing from which I gain inspiration. Which photos are on it changes constantly. At some point they will be taken down and stored away in more permanent places. This type of photo display serves the specific purpose of kindling memories so I can do a better job writing about my life. Among the uses of photographs this is as valid as any of them.
I have limited interest in creating traditional photo albums. As the ones we have age, we should maintain them as appropriate. The rubber cement we used to affix prints to a page apparently doesn’t hold up over the decades. Maintaining those memories is important, although I’m not sure I would make another like them. Albums have been a medium for creative expression and that will likely continue to some degree if I find a topic.
Archival Review and Storage.
The state of my photographs is neglected. I have piles and envelopes with many different photos in them. There are multiple shoe boxes of photographs. There are a couple dozen photo albums. My digital photos are filed by date and it’s hard to tell what they are without looking. I also have photos stored in file folders related to projects. That’s not to mention those I’ve posted here or on social media. The goal of any project is to feel I’m giving due attention to images I captured: to neglect images less.
I decided to use the envelope method to store print photos that are similar in some respect. That is, groups of photos will be stored, and to some extent labeled, and placed in envelopes according to some criteria. For example, photos of certain friends might have their own envelope. It is important to write on the back of prints what the viewer is looking at. Also, why are certain photos grouped together. If I want to pass on stories to the millennial generation, this is one way of doing it. It is worth making time for the effort.
Likewise there is an archivist concern about taking care of photos in storage. In particular, how is print exposure to moisture being controlled? Is the cloud storage solution the right one for digital photographs? Which cloud storage is the best option?
Inevitably, these concerns lead to touching each photograph and doing something with it. To accommodate this, I feel it is important to set up a regular time each week to work on that. The current schedule is to work on photography each Tuesday for a couple of hours.
Making New Photographs.
Going forward, the goal is to save fewer photographs. If I take ten shots of a sunrise, I should keep only the best one, making the decision within an hour of taking a photograph. Not doing so is pure laziness. While it is easy to make multiple exposures, the goal is to find what Henri Cartier-Bresson called the “decisive moment.” From a photo production standpoint, using unposed, candid moments captured with a focus on composition and the “decisive moment” includes learning how to better frame an image, attention to lighting, and perhaps taking multiple shots, and then discarding the lessor quality images. One assumes we won’t return to the lesser images.
As far as printing digital images goes, there needs be a reason to do so. It can be to mail an image to the people in it, or in rare cases, pasting them into a photo album on a specific topic.
Like everything I do these days, managing photography is an ongoing discussion. Time with the potential inheritors of a collection of stuff just makes sense, and I’m glad we had the conversation.
~First in a series of posts about managing personal photographs
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A Morning Hike
I decided to call my morning exercise a hike instead of a walk. That’s mostly because when my sneakers wore out, I replaced them with a pair of hiking shoes. I don’t know if this will persist, but I’m trying it on for size, to wit:
Here are some photos from my morning hike.
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Photo Sunday — April 20
Here are some shots from around the yard for April 20, 2025.
Few things speak of spring like newly budded and flowering plants. They provide hope on a cloudy and dark day.
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Harvest of Photos
My farmer friends are lining up customers for the 2025 growing season. February is the time folks sign up for a community supported agriculture share and there is a limit to how many shares each farm can produce. I used to belong to a CSA yet no longer need one. My large garden usually produces enough good stuff to serve our family. I wish them a productive and profitable season. This photo is one taken after I harvested bell peppers to take home, process, and freeze.
Part of writing an autobiography involves photographs and art work. The visual arts convey something much different from narrative text. In An Iowa Life: A Memoir, the first volume of my autobiography, I included a single photograph of me as a toddler. In volume two, I may include more than one, depending upon the expense. The book is not available to the public at present, but may be once early readers all provide feedback. Here is the cover with the photograph:
The way I used photographs in volume one was to describe something based on them, using my narrative to control the meaning. This is important because we don’t want to distract the reader from the energy of the narrative by introducing a photograph that can be interpreted in multiple ways. By describing photographs, instead of inserting them into the text, we can better guide readers.
Part two begins in 1981, a time when I took many film photographs. I keep the prints in boxes near my writing space, and in a few photo albums we made. I don’t know how to process them, yet at a minimum, I will get them out and look at them. There are a host of projects one could create with old photographs. A couple of days ago, I cleared access to the piles of boxes where the photographs rest.
I had a flip phone with a camera and took this photo of Senator Barack Obama on Sept. 17, 2006. The video of that year’s Harkin Steak Fry is here. It was one of the first digital photographs I took. The quality is not the best, yet it records the moment.
Obama is in the rope line after he gave his keynote address. You can see Chet Culver and Tom Vilsack behind him. I shook his hand and was surprised at how genuine he was in our brief conversation. He had quite a handshake.
On May 3, 2008, I bought my first digital camera and took this photo after opening the box. Once I entered the realm of digital photography, the number of images exploded. Cameras in smart phones changed how I looked at photography. Now I take many exposures of a scene and then pick and edit the best one. There is no additional cost for multiple exposures and device memory seems unlimited.
This has been a roundabout way of getting to the topic. In figuring out how to address photography in part two, I need to:
- Find all available photographs in our house.
- Look at them and set aside the ones I can use in the narrative.
- Pick a small number for inclusion in the book.
- While I look at them, I need another photo project in the works in which to use them. Posting on social media is one. Making specific albums, both paper and digital, is another. I might enlarge and frame a few of them. Each requires a significant investment of work.
- Reviewing photographs should help make my picture-taking better. I hope to be cognizant and thoughtful in this process. I hope to be a better photographer.
- My storage system has been good in that few have been damaged. Determine how to store them going forward.
- I need to get rid of some of them. I don’t want to pass along photos that are meaningless to whoever inherits them.
- I will read or reread a couple books about photography. In particular, The Photographer’s Eye by John Szarkowski, Photography and the American Scene by Robert Taft, Wisconsin Death Trip by Michael Lesy, On Photography by Susan Sontag, and others. If you know of a current book about photography, please drop a comment with the name and author.
At the beginning, this project is hopeful. It should be a fun year reviewing the images of my past and recalling the living memories behind them.
Journey Home 
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