Text and images used by permission.
As fine art photography turned from Pictorialism to the perfectionism of Ansel Adams, Edward Weston, Judy Dater, and Linda Conner, many nature and landscape photographers sought the ultra-sharp, grain-free, and exquisitely-modulated black-and-white contact prints made from large-format cut film negatives. Switching from 35mm was worth it for image quality, but the work was very slow; an 8x10, its heavy tripod, carriers, and paraphernalia, meant that only one set-up and one or two exposures could be made in a session, rather than shooting a roll of 36. It was said that the slow pace and meticulous caution could be best described as "contemplative." Modern equipment and software have reached new heights and truly beautiful color and black-and-white images are possible without a truckload of heavy equipment, but, as artist-photographer Rich Smukler's work and words make clear, the attitude and approach of “contemplative photography” continue to apply.
Inspired by both the perfectionist tradition and on the mystical drift of artists and thinkers like Minor White and Andy Karr, Smukler’s work and words in this series offer a thoughtful definition of contemplative photography and suggest a pathway into understanding the complex relationship between the landscape and the artist in its midst. Smukler’s portfolio centers on California wild lands and deserts where the physical demands of the climate require careful preparation and awareness; they call it Death Valley for a reason. For photographers, the light is extreme, creating inky shadows and piercing highlights in monochrome, and working in color requires an extra layer of technical skill. But, the difficulty, the silence, and the spatial emptiness seem to be perfect for this artist and his work, presenting a perfect combination of remarkable vistas and the solitary focus and feeling to receive and express what he finds. His contemplative approach marks a deliberate turn away from any pre-planned, trophy-hunting mentality toward something closer to a zen openness: a state of receptive attention in which an image announces itself with sudden vividness, a gift from the seeing, sensing, intuitive, creative mind of the artist.