Photographs from a book
made in 1965 for the
made in 1965 for the
Nathan Lyons Home Workshop
Rochester, New York
Rochester, New York
Workshop Project:
Visual Flow - (Representational) - Human Isolation
This book was an exercise assigned by Nathan to study visual flow, or the sequencing of images within a body of work on a theme, in this case "Human Isolation." These images were typical of my personal work at the time. Everything was dark and moody in the tradition of Dave Heath and W. Eugene Smith. The word representational stood for photographs that had meaning in terms of what was photographed. Nathan gave us non-representational assignments too - images that were not dependent on the subject matter for it's meaning; the images functioned as metaphors for feelings or ideas.
I was a student at RIT when I was taking Nathan's Home Workshops. I was always making photographs for the workshop and then when possible used those images for my photo courses at RIT.
I was a student at RIT when I was taking Nathan's Home Workshops. I was always making photographs for the workshop and then when possible used those images for my photo courses at RIT.
My friend, Peter Monson.
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Book Project 1965-66
I took Nathan's Home Workshop two years in a row: 1964-65 & 1965-66. In the second workshop Alice Wells, Roger Mertin and Jim Erwin were enrolled with me. Nathan gave us a large book project to be completed at the end of the year, in the spring of 1966. It originally included over 50 photographs, but in February, 2013, when I decided to give it to the Visual Studies Workshop edited it down to 31 prints and re-sequenced it to the extent I deemed necessary. To see my book project click here.
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John Patterson
John was an amzaing photographer in the tradition of Henry Cartier-Bresson who gave up art photography after he graduated from the RIT program because he wanted to become a film maker. He befriended me, let me assist him on a documentary film he made of Rochester. He studied film on his own by watching movies late at night on an old TV. He had a string attached to the volume control so he could turn down the volume during commercials without having to get up. Last I heard he moved back to Canada in hopes of becoming a film maker for the BBC. Before he left he sold me all his Apertures (nearly a complete collection) , and a framed Minor White print for ten dollars. I don't know why he soured on art photography.
John was an amzaing photographer in the tradition of Henry Cartier-Bresson who gave up art photography after he graduated from the RIT program because he wanted to become a film maker. He befriended me, let me assist him on a documentary film he made of Rochester. He studied film on his own by watching movies late at night on an old TV. He had a string attached to the volume control so he could turn down the volume during commercials without having to get up. Last I heard he moved back to Canada in hopes of becoming a film maker for the BBC. Before he left he sold me all his Apertures (nearly a complete collection) , and a framed Minor White print for ten dollars. I don't know why he soured on art photography.
The photo below was made at a loft party. Jim Erwin, Bart Clapsaddle and I rented an upstairs apartment that included a full attic which served as a photo studio, and we had a darkroom up there with running water. Sometimes parties or meetings or shooting sessions were held up there in the attic.
John Patterson with his Leica, light reflector hat, cigarette, attic party 1965-66
Welcome Page to The Departing Landscape website which includes the complete hyperlinked listing of my online photography projects dating back to the 1960's, my resume, contact information, and more.
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