Socka what? Sockanosset Boys Training School in Cranston RI. Now long gone and turned into some stores, a restaurant, and offices.

Evidently the school was built in the mid-1800s to house and train boys that were posing some difficulties for the state. Right up the street from a prison.

I would guess I made these about 2005. I have a friend who was living nearby and she mentioned that I might want to take a look at where the school was as the vines and brush were being cleared as prep for developing the site.

A note about size: while striking smaller, this image really needs to be large to see the subtleties in the variation of these three buildings. The grid is made from several rolls of 120mm film that I scanned then composited together to look like one roll of twelve exposures.

I returned last week from my second trip to Northern California to photograph the effects of the Camp Fire in Paradise.

As I start to make prints from the shoot I realize I was seeking to connect with the place in a slightly different manner than before. Partly documentation and partly an artist's response, the work reads more personal and selective.

An example is these, called Paradise Valley Trees:

This career artist doesn't always know why he's doing things. That sounds bizarre I know, but it is true. I discover things from the pictures I make. Yes, I made some conscious decisions here: convert the camera to 1:1, make the files in post into black and whites. So, I was working towards higher specificity in these pictures.

Prints are 12 x 12 inches. I suggest seeing them in person: Neal's email

This will finish the series I've been writing on the photographs I made in June of the wheat fields of the Palouse in Eastern Washington.

I am pleased to report that the portfolio is almost complete and that it just needs a few more reprints and a final edit to be ready to present.

If you would like to see the prints you can come to my studio to see them. Email me at: nrantoul@comcast.net

This is a small thing, but big if you are a printer and make portfolios. My prints in this series are on Red River San Gabriel Baryta paper in 17 x 25 inches. Archival Methods makes portfolio boxes, among other things. They now make a 17 x 25-inch drop-front box, seen here and also a 17 x 25-inch folio case. This is good news for those of us that like to use this slightly larger paper over the more standard 17 x 22-inch size. As a benefit, the DSLR full-frame fits this size paper better as well.

The last few days in Washington followed the already familiar pattern of getting up, driving, photographing, driving, photographing, on and on.

The latter part of Day 9 I started working in Pullman and this carried over to the next morning, which was my last:

These connect to a project I did in 2009 called Mallchitecture (here).

2011 Yuma Palms Mall, AZ

Rhode Island, 2009

I finished the trip with a few hours photographing the greenhouses at the University of Washington campus in Pullman:

That concludes this four-part series. I have been photographing in the area for 25 years, with trips every year or two. Am I finished? Hard to say. I feel like maybe I am, but in a year or two the Palouse will pull at me, just as it has many times  before. It is a peculiar place, charming and very beautiful. The area has purity and honesty to it in a world so lacking in integrity and so perverse as to be defeating at times. 

If you go, you could take a workshop, as there are several. Personally, I would hate that, being carted along to "choice spots" by a guide. I like the freedom to choose my places, my own time of day and time of year. 

I just added a very early series of mine from the 1970's to the site. Called "Boats" the photographs are black and white photographs made in 1978 and 1979 from two marinas: Martha's Vineyard, MA and Berkeley, CA

They are here on the site.

I made the pictures two years before the Nantucket pictures (1981) and as such, they don't have the emphasis on sequencing and narration that later works did.

Made six years after getting my MFA degree from the RI School of Design the prints show a predominant concern with design and have a full tonal range from 2 1/4 inch negatives. I almost always used Kodak's Rapid Selenium toner. This is evident in the Boats prints' neutral to cool blacks. By this time I  had devised a unique system for agitating the film during developing. This resulted in exceptionally smooth tonalities in areas like open sky. The prints are in perfect condition after all these years and are about 12 x 12 inches.

With so many photographs made over so many years, I tend to categorize my own work in a couple of different ways, mostly as A work and B work. The Boats pictures are solidly in the B column, meaning I believe they are important, but not seminal. To my eye, the concern is clear to see. This was a time of continuing development, as I was refining my own approach and deepening my understanding of the quality of light used to make my pictures. The pictures are about quality, with no interest in boats as a subject whatsoever, simply as surfaces to reflect or absorb light from the sun on early morning bright days. 

Made long before those of us in the photo art community thought of editioning prints, the photographs in my studio are the only ones in existence. If you'd like to see them please email me directly: nrantoul@comcast.net

Three weeks on the island of Martha's Vineyard in May. 

Is Martha's Vineyard heaven on earth?

Not in early May.

Let me explain.

My family's home is in Chilmark, close to the western end of the island. Rural, some farms, the fishing village of Menemsha, the cliffs at Gay Head at Aquinnah close by and a couple of world class beaches.

What's not to like?

In early May, the weather. When I arrived, it was cold, wet and windy. Nothing was green, the trees were bare. Only by the middle of the month do things start to pick up and then there were only a few days that were almost warm. I find the island tough when the weather is bad. Surrounded by such beauty without being able to be in it beats you down.

I photographed right through it all, no big surprise, and got into some sets and subsets of things both new and visited before. One was is a stream running across the south beach and into the ocean, runoff from the marsh at Moshup Trail.

Patterns in the sand from the water and reflections on the surface. Remarkable. 

Are these something? I don't really know yet as I will need to work the files and make a few prints to be able to tell.

Being compulsive means I trekked up there six different days, a considerable hike a mile or so down the beach at Philbin to get to it. I tried photographing this with a tripod and without, used a PC lens to get the planes more parallel, went on diferent days with a long lens and a wide lens and with  Sony and Nikon cameras, with flat light and contrasty days. I learned to go after it had rained as two or three days of no rain and the stream trickled off to almost nothing.

I went up in a plane this past week for an hour flight with good light and the leaves just coming out on the trees.  We went up about 3 pm, late for me, but one of the pilots I work with flies over from Nantucket.  In the morning it was far too windy so we waited and the wind calmed somewhat.

Note: these are not finished files, but pretty much as they come out of the camera as RAWS.

We flew from the Aquinnah end of the island over to Noman's Land, a small restricted-access island a couple of miles off the south shore. The island was used for bombing practice by the military for many years and there is unexploded ordnance scattered around, hence the prominent"No Trespassing " signs.

I first made aerials here ten years ago and, in fact, it was the first of the Massachusetts islands I made pictures of.

Why go again? The technology has changed. The files I am making now are leaps above the files I made back then. Higher resolution, greater dynamic range and a color engine far more subtle and nuanced. In optics, the 70-200mm f2.8 Nikkor lens I use now for aerials is two generations improved from ten years ago and it shows. These are excellent files.

What else? I tried to mimic the series of the fishing village Menemsha I had made last year but couldn't pull it off. Perhaps someone else could work to make good pictures here offseason. But for me it seemed disrespectful and cruel. Menemsha is not a pretty sight in early May in the rain and the wind and the cold.

There are a couple of trees I photograph each time I go to the island. They are in Chilmark and are old friends.

As we are now in production for the next show at the Harvard Ed Portal opening in late June, the new Martha's Vineyard pictures will have to be put aside for now.

But let me make this statement and challenge: the body of photographs of mine from Martha's Vineyard over a long career begun in the late 60's is significant and important and should be looked at by curators and/or editors for increased exposure. Not only does the work encompass a survey of some of the massive changes to the island over the past 50 years it also tracks the evolving aesthetic, comprehension and refinement of this career artist. What better place to work over a whole career than an island? 20 or so miles of land surrounded by water means finite content, a place that is a microcosm divorced from much of the rest of the world but also part of it.

Any takers?