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**Shoutout to Michael Kenna**

We'd like to give a special shoutout to our sponsor, Squarespace.com, for making this episode possible. We also want to thank them for their support in sponsoring our show. As photographers, we're always interested in exploring the work of other artists and seeing how they've developed over time. Michael Kenna's exhibition, "Images of the Seventh Day," is a great example of this. By looking at a body of work like this, we can see how an artist's style evolves and matures over time.

**Book Recommendations**

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**Final Thoughts**

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"WEBVTTKind: captionsLanguage: enwant to revisit a photographer that we looked at not too long ago and I'm talking about Michael Kenna and what we're going to be doing is actually looking at this book that I found um that is not new but is readily available and easy to pick up uh this is Michael Kenna images of the seventh day and I thought this would make an interesting topic for an episode even though we already did a full bio on Kenna because it allows us to dig a little deeper into some of his landscape work in particular and uh this book is an excellent view into this this book was actually a catalog that was produced for an exhibition of Ken's work that happened in Italy and I think it was 2010 uh called images of the seventh day so this is the catalog of what was in that exhibition extremely well printed book as you're going to see in a second and there's some wonderful curatorial analysis in the beginning and I thought it was really interesting because uh one of the comments that's made in this book is you know when you look at landscape photographers and some of the people who are better known and associated with the medium of being landscape photographers you know Cana represents a really kind of a new generation of that um there's new elements that come into His compositions that you know this is stuff that I've mentioned on the show before um you know the elements of minimalism and and the way he incorporates composition it's a little bit different than what you're used to with certain people but what's interesting is they kind of compared it to uh you know when you look at some of the classic photographers that you identify with being landscape photographers and typically there's a region that's associated with people so if you think of ancel atams you think of yosee or if you think of you know you can make a case for brasai doing these night Landscapes of urban Paris and so brasai is with Paris or if you look at Weston and in Southern California usually there's kind of a place that people are associated with and what's interesting about Kenna is he does break these barriers down a little bit and there are probably four or five places that I would associate with Kenna with off the top of my head um you know certainly Great Britain I think there are parts of of Asia that he's associated with anyway I think this is really kind of interesting and very different you know when you look at the Modern Age that Kenna lives in and the fact that you can travel quite easily and the fact that Kenna does again it's an extension to what he does as a photographer anyway I don't want to talk too much I want to get to some images here so without further Ado let's go over the table here and let's take a look at images of the seventh day so we're going to have a look at Michael Kenna's images of the seventh day now this book is a little bit outside the regular uh catalog output that you see from Kenna and as I mentioned earlier Kenna likes to work in series-based projects and oftentimes he will self-published books that wrap up at least a phase of that project or sometimes the project completely and they're usually located based project so what you're seeing with Kenna's B books is a you know a very in-depth study of a very specific area of work this is a career retrospective and I really like this because uh this has a lot of images that I hadn't seen before and i' I've looked at a lot of Kenna's work and there's some really nice stuff in here particularly the early stuff and we're going to look at some influence within that uh This was done for an exhibition in Italy in 2010 um a couple things that are notable about this book uh first of all the the uh the critique and the um the curatorial statements up front or printed I don't know if you're going to pick this up on the video or not but it's a slightly different uh type of paper than what you're going to see the images actually printed on so what I really like about this is optimized for reading and then optimized for looking at pictures and so it's a really nice touch uh the critical essays in here are excellent um they're posted in Italian and English and uh I I think they're they're just really nice um so anyway what I want to do is I want to start with the very beginning stuff and this are really some early images for Kenna so what we're talking about here is around 1974 in fact we are talking about 1974 this is um taken in England and what we're seeing is a very different look than what we're used to with with Ken's more matured refined style that we're used to today and you're seeing shots on 35 mimer we don't have the square format yet it's rectangular format we're seeing more grain in the images and compositionally he is not to the point where he's dealing with a lot of the minimalism that we're going to see later and I really love these compositions I think that there's um a real play with the atmosphere that he was doing with different times of lighting conditions different types of uh you know mist or fog I love some of these night shots and the other thing that's cool is when we think of of of Michael Ken as being a landscape photographer what we're seeing in some of these works here is redefining a little bit of what landscape photographer means we're not just seeing um landscapes in the sense of mountains and trees but we're actually getting these little Park scenes at night with benches and more urban types of textures we do see some minimalism coming on early on with just you know the way the shape plays in the composition but I really really love uh a lot of this early work I think that we showed some of these in the in the Michael Ken episode These come from 77 but you know other things that you know playing with lights and darks or darks on lights um you know these white poles against the black background and how some of that minimalist texture starts creeping in I like this too with the deck chairs um some really uh beautiful work and I did mention also that uh Kenna early on uh was inspired by of all people Bill Brandt and if you're familiar with Brandt's work uh you start to see a little bit of that Echo to in some of these with some of the the Vantage points he's shooting from uh the more high contrast images I love these with the pole and the light you know very different than what we're seeing in Kenna's work later and we're starting to see the square format creep in a little bit but you do see or I think I see you know especially with the wide angles a lot more of that brand influence in some of these early images and and some of these are you know we're getting into the 80s at this point but still fairly early in Kenna's career um you know this is the point where he's working in U as a printer and uh not known as a photographer at this point so you're going to see a lot of more experimentation um and then it is about 1988 or so with these images these are the uh conical Hedges uh in Versailles in France where the classic Michael Kenna that we know today starts to emerge so we're looking at Square format in some cases but also these real minimalistic Stark black and white textures um you know with with this heavy metabolism uh that's coming through in the images and I I love this it's almost like uh you know these these crude uh shapes almost because the you know the conle they are shrubs or Hedges here so it's not perfect and I I love that imperfection it almost has you know a very organic quality to it um you know when you see it in high contrast like that uh so really cool stuff and then I also think that you know you're starting to see a lot of that come together as well these are from the mid 90s also and this was we talked about this in the last um in the last video we did this is the homage to HRI K bran that he did of the trees with the road going through but what I think is interesting about this collection here that we're starting to see are variations and Canada does a lot of this you see a lot of it in the books that he does that cap off the series projects but you'll see him explore things from different angles and so I really like the play that you're starting to see within a lot of this sure we do have the homage to cardio braon but you're also seeing you know kind of a playing with that I love this with where you have the the lines that that lead your eye to the to the back of the Hedge here and so I really like a lot of that exploring um that Kenna tends to do with stuff and I think he's a very a very thoughtful photographer in that um you know he continues to experiment and I think that that's one thing to really learn from Kenna is to you know exhaust all the angles um you know I talked about that a long time ago when I did Master Class live you know see things differently and push yourself further um you see little experiments that crop up too like this rench of s Carlos from California with the long exposure at night where you see the stars it's of the image which end up making the background to the solo tree that's in the foreground really beautiful stuff minimal uh very basic but but really elegant and mature in a lot of ways another series that I wasn't familiar with and it doesn't mean that it's not out there it just means I'm not familiar with it but um the kyotes Giants series and these are a series of studies so we have study one study two study five and again I think what we're doing is we're starting to see as a landscape photographer um that that sense of exploration and experimentation you know you have different weather conditions the white Sky versus these heavy textured rainclouds that are blowing in so considerable amount of time was spent photographing these from different angles and really thinking about it and it's also interesting too because it starts to as I mentioned earlier that kind of location based idea where a lot of times we associate certain landscape photographers with locations and I think it's because you know in our Modern Age kaen of obviously is able to travel has the means to do so and does and this is also and I don't mean to Critical with this but this is part of Kenna's thing that makes it sellable I think sometimes as prce um because you do identify certain things with a different landscape I'm not saying being critical of that there's nothing wrong with that but that certainly is a thing um you know it's not just a matter of well you know shoot if I were able to go to Spain I could get these two um I I don't look at it that way I think that he really is is doing a lot of exploring with these and and pushing that further uh and you see that in this work so anyway the other thing too are these shots and these are some more that I had not seen and these are they're they're studies again and numbered uh so this is these are from lace factories so this is lace Factory and these are on France lace Factory 29 study 21 30 and 37 and what we've seen Kenna doing is breaking out of doing Landscapes these are close-ups they're macros they're abstract a little bit uh you just see this one with the little hooks lying down it's a window shot and I think that's interesting too because a lot of this type of phot tography impacts the composition and the way Kenna thinks about landscapes in fact I almost wonder uh I think a question to ask Kenna is is would he consider himself to be a landscape photographer in the end it's all composition and it's all you know these interpretations of ideas which we've talked a lot about recently too but interpreting ideas of line and shape and abstraction and the way things feel in a composition particularly with the square format you know sometimes I I think it yes he is a landscape photographer but this allows that to break away somewhat and I it's just really interesting to see these collected here um the Easter Island shots uh are fairly well known of his the the moai these large ancestral figures that um they're huge and they're kind of mysteriously left on the Easter Islands and people have different theories about how they were moved and such but uh really really amazing work um and then finally when we start to get into the uh rad cleff Power Station a lot of the ideas with the smoke and the textures and the the way that blurs into the photo gra and and Ken's these are well-known shots the other ones I want to mention to here real briefly um this one's playfully titled Mary pins over Midtown and then this one's the crysler building study number two uh I featured this one in when we were talking about the um the interpretations episode of of location and I featured several way people have shot the crysler building and Ken is no exception and I think this is a really interesting take on New York um these are more recent these are 2006 so they're not that old so it's a little bit different direction for Kenna um rather than dealing with the you know Zen minimalism that we see with a lot of the shots of things in snow and whatnot we're starting to see these cityscapes and there is a minimal quality to them perhaps but there's so much Rhythm and Dynamics going on in these patterns that you see that are just made by the the the lights in the city I think it's absolutely beautiful work and uh Kenna has there's a lot of New York work that's done in here this is another one I think is very different for Kenna this is called morning traffic Midtown Manhattan and what we see here is a landscape but playing against traffic with the you know the shallow depth of field where your your field stops and focus pretty pretty far up in the foreground and so you just end up with kind of the shape and texture and Abstract but also the way this deals with a reflection with what I assume is wet pavement here uh which is really beautiful and really interesting as well another shot of the Empire State Building uh I think there's yet another Empire State Building yeah here's other ones cryo building but anyway you see my point is different interpretations different styles different ways of shooting you know if you look at something like these just these four Images well they group together I can tell this is one photographer so what are those thematic elements that he carries over and sometimes this becomes a very complex thing use of shadow um I think the minimalism still has an influence on these even though they're not as starkly minimal so it's something to think about and then finally uh I just want to end on this one because I just find it so beautiful butth this is called Lighthouse and this is in France as well and this is from 2000 and it's completely blurred shot but there is such a beauty to that that you know I really wish Kenna would start pushing more in abstract directions like that I think he's probably wise not to because he uh um he sells a lot of Prints but uh and his work is absolutely gorgeous and I I definitely wanted to uh to share some of these with you uh another one I found really interesting too and I'll end on this one actually uh this is called Corridor of leaves and this was Italy in 2006 and if you have done done any black and white uh film processing or printing in the dark room uh you'll probably realize how impressive this image is to actually have gotten uh where it's just really there's not a lot of midtones it's pretty much darks and whites but there's so much going on with the hedges and the sharpness as it goes through here and the texture you pick up in the leaves and on these branches and I think this is maybe one of my new favorite K of images um there's just so much to that that that is just drop dead gorgeous that I love so anyway um that is basically some highlights of uh images of the seventh day uh wish I could have seen the exhibition it would have been really neat to see these uh up close and in person but uh you know that was 2010 and we have the catalog today and it's widely available I will link up to this book in the show notes if you want to pick it up on Amazon um not very expensive and uh I think it's excellent so anyway that's Michael Kenna's images of the seventh day I want to take a second and give a shout out to our sponsor today who are the awesome folks over at squarespace.com build it beautiful websites domains e-commerce and more if you're not familiar with Squarespace um they offer everything you need to build a website a portfolio a Blog an online store basically if you have business to do with a website they have you covered and they offer quite a bit for photographers and I want to talk a little bit about that today because I really think they're probably the best in the business for this um basically with Squarespace the first cool thing is you don't need to know how to code or anything about a web server or any of that stuff it is an all-in-one solution they have an unbelievably cool drag and drop content management system so literally if you can drag and drop a folder of images onto a browser and click and drag to move them around then you can build a website and it's that easy the other really nice thing about Squarespace is they have you covered so if you decide you want to do something with e-commerce where you want to sell prints on your website or even downloads of stock photos or something like that um they have all that built into the system and really you just start adding things as products and you can sell actual physical Goods or you can sell digital downloads and they'll actually for physical things they'll even print out the invoice and even the packaging sticker for you so all you have to do is just stick that on there and ship it and you're done um and if you've ever tried to do e-commerce before you know what a godsend that is because that they really just make everything easy um with Squarespace you want to go here and sign up for their free trial and whether you tried it or not or whether you even think you're interested they don't take a credit card nothing like that all you have to do is go here sign up for the free trial and you'll have a week to figure it out and see you know play around with it and build a website and see if this is right for you um when you're done with your free trial it is something you want to subscribe to I can save you 10% off of your order and what you want to do is on checkout you want to use offer code aop stands for The Art of Photography so aop that will get you 10% off your subscription and uh it'll get you started on Squarespace and I would whether you think you're interested or not just go over and do the free trial because it is pretty cool and it is very easy to use um so once again that is squarespace.com build it beautiful and I want to give a special shout out once again to the folks at Squarespace and thank them for sponsoring another episode of The Art of Photography this group of work is particularly interesting to me in terms of Michael Kenna's greater body of work you know we did an episode a couple months ago on Michael Kenan it was just on his full career um I think it's interesting to kind of revisit people from time to time and dig a little further into the work that they do and I think that this exhibition images of the seventh day really did a nice job of that what I find fascinating about it is when you look at a lot of the earlier work that Kenna did and you can see how he would develop this as an artist you see a lot of the influences that he had in his earlier work and this is not uncommon with people but I think it's really interesting to study and see I mean I think his work now he has a much more mature defined personal style that that maybe still has some of those influences in there but maybe less obvious so it's really interesting to look at a body of work like this and see how that progresses and evolves over time anyway I will link the uh um this book up in the show notes if you're interested in getting a copy I would do it fairly soon because who knows how long it'll be in print as I mentioned in the book collecting episode that we did last time and if you enjoyed this video please remember to to like it and share it with your friends and always subscribe so you are up to dat on all the latest and greatest videos that we produce and also I am about to launch the new Art of Photography TV website and so I would head over there I'll link this in the show notes as well but go get on our mailing list so you can get all the official updates I don't send out a lot of emails but when there is something to announce like the new website which I think is really going to be cool um I will make announcements there so uh I'll link that in the show notes as well anyway guys once again thank you for watching another episode of The Art of Photography I will see you the next video laterwant to revisit a photographer that we looked at not too long ago and I'm talking about Michael Kenna and what we're going to be doing is actually looking at this book that I found um that is not new but is readily available and easy to pick up uh this is Michael Kenna images of the seventh day and I thought this would make an interesting topic for an episode even though we already did a full bio on Kenna because it allows us to dig a little deeper into some of his landscape work in particular and uh this book is an excellent view into this this book was actually a catalog that was produced for an exhibition of Ken's work that happened in Italy and I think it was 2010 uh called images of the seventh day so this is the catalog of what was in that exhibition extremely well printed book as you're going to see in a second and there's some wonderful curatorial analysis in the beginning and I thought it was really interesting because uh one of the comments that's made in this book is you know when you look at landscape photographers and some of the people who are better known and associated with the medium of being landscape photographers you know Cana represents a really kind of a new generation of that um there's new elements that come into His compositions that you know this is stuff that I've mentioned on the show before um you know the elements of minimalism and and the way he incorporates composition it's a little bit different than what you're used to with certain people but what's interesting is they kind of compared it to uh you know when you look at some of the classic photographers that you identify with being landscape photographers and typically there's a region that's associated with people so if you think of ancel atams you think of yosee or if you think of you know you can make a case for brasai doing these night Landscapes of urban Paris and so brasai is with Paris or if you look at Weston and in Southern California usually there's kind of a place that people are associated with and what's interesting about Kenna is he does break these barriers down a little bit and there are probably four or five places that I would associate with Kenna with off the top of my head um you know certainly Great Britain I think there are parts of of Asia that he's associated with anyway I think this is really kind of interesting and very different you know when you look at the Modern Age that Kenna lives in and the fact that you can travel quite easily and the fact that Kenna does again it's an extension to what he does as a photographer anyway I don't want to talk too much I want to get to some images here so without further Ado let's go over the table here and let's take a look at images of the seventh day so we're going to have a look at Michael Kenna's images of the seventh day now this book is a little bit outside the regular uh catalog output that you see from Kenna and as I mentioned earlier Kenna likes to work in series-based projects and oftentimes he will self-published books that wrap up at least a phase of that project or sometimes the project completely and they're usually located based project so what you're seeing with Kenna's B books is a you know a very in-depth study of a very specific area of work this is a career retrospective and I really like this because uh this has a lot of images that I hadn't seen before and i' I've looked at a lot of Kenna's work and there's some really nice stuff in here particularly the early stuff and we're going to look at some influence within that uh This was done for an exhibition in Italy in 2010 um a couple things that are notable about this book uh first of all the the uh the critique and the um the curatorial statements up front or printed I don't know if you're going to pick this up on the video or not but it's a slightly different uh type of paper than what you're going to see the images actually printed on so what I really like about this is optimized for reading and then optimized for looking at pictures and so it's a really nice touch uh the critical essays in here are excellent um they're posted in Italian and English and uh I I think they're they're just really nice um so anyway what I want to do is I want to start with the very beginning stuff and this are really some early images for Kenna so what we're talking about here is around 1974 in fact we are talking about 1974 this is um taken in England and what we're seeing is a very different look than what we're used to with with Ken's more matured refined style that we're used to today and you're seeing shots on 35 mimer we don't have the square format yet it's rectangular format we're seeing more grain in the images and compositionally he is not to the point where he's dealing with a lot of the minimalism that we're going to see later and I really love these compositions I think that there's um a real play with the atmosphere that he was doing with different times of lighting conditions different types of uh you know mist or fog I love some of these night shots and the other thing that's cool is when we think of of of Michael Ken as being a landscape photographer what we're seeing in some of these works here is redefining a little bit of what landscape photographer means we're not just seeing um landscapes in the sense of mountains and trees but we're actually getting these little Park scenes at night with benches and more urban types of textures we do see some minimalism coming on early on with just you know the way the shape plays in the composition but I really really love uh a lot of this early work I think that we showed some of these in the in the Michael Ken episode These come from 77 but you know other things that you know playing with lights and darks or darks on lights um you know these white poles against the black background and how some of that minimalist texture starts creeping in I like this too with the deck chairs um some really uh beautiful work and I did mention also that uh Kenna early on uh was inspired by of all people Bill Brandt and if you're familiar with Brandt's work uh you start to see a little bit of that Echo to in some of these with some of the the Vantage points he's shooting from uh the more high contrast images I love these with the pole and the light you know very different than what we're seeing in Kenna's work later and we're starting to see the square format creep in a little bit but you do see or I think I see you know especially with the wide angles a lot more of that brand influence in some of these early images and and some of these are you know we're getting into the 80s at this point but still fairly early in Kenna's career um you know this is the point where he's working in U as a printer and uh not known as a photographer at this point so you're going to see a lot of more experimentation um and then it is about 1988 or so with these images these are the uh conical Hedges uh in Versailles in France where the classic Michael Kenna that we know today starts to emerge so we're looking at Square format in some cases but also these real minimalistic Stark black and white textures um you know with with this heavy metabolism uh that's coming through in the images and I I love this it's almost like uh you know these these crude uh shapes almost because the you know the conle they are shrubs or Hedges here so it's not perfect and I I love that imperfection it almost has you know a very organic quality to it um you know when you see it in high contrast like that uh so really cool stuff and then I also think that you know you're starting to see a lot of that come together as well these are from the mid 90s also and this was we talked about this in the last um in the last video we did this is the homage to HRI K bran that he did of the trees with the road going through but what I think is interesting about this collection here that we're starting to see are variations and Canada does a lot of this you see a lot of it in the books that he does that cap off the series projects but you'll see him explore things from different angles and so I really like the play that you're starting to see within a lot of this sure we do have the homage to cardio braon but you're also seeing you know kind of a playing with that I love this with where you have the the lines that that lead your eye to the to the back of the Hedge here and so I really like a lot of that exploring um that Kenna tends to do with stuff and I think he's a very a very thoughtful photographer in that um you know he continues to experiment and I think that that's one thing to really learn from Kenna is to you know exhaust all the angles um you know I talked about that a long time ago when I did Master Class live you know see things differently and push yourself further um you see little experiments that crop up too like this rench of s Carlos from California with the long exposure at night where you see the stars it's of the image which end up making the background to the solo tree that's in the foreground really beautiful stuff minimal uh very basic but but really elegant and mature in a lot of ways another series that I wasn't familiar with and it doesn't mean that it's not out there it just means I'm not familiar with it but um the kyotes Giants series and these are a series of studies so we have study one study two study five and again I think what we're doing is we're starting to see as a landscape photographer um that that sense of exploration and experimentation you know you have different weather conditions the white Sky versus these heavy textured rainclouds that are blowing in so considerable amount of time was spent photographing these from different angles and really thinking about it and it's also interesting too because it starts to as I mentioned earlier that kind of location based idea where a lot of times we associate certain landscape photographers with locations and I think it's because you know in our Modern Age kaen of obviously is able to travel has the means to do so and does and this is also and I don't mean to Critical with this but this is part of Kenna's thing that makes it sellable I think sometimes as prce um because you do identify certain things with a different landscape I'm not saying being critical of that there's nothing wrong with that but that certainly is a thing um you know it's not just a matter of well you know shoot if I were able to go to Spain I could get these two um I I don't look at it that way I think that he really is is doing a lot of exploring with these and and pushing that further uh and you see that in this work so anyway the other thing too are these shots and these are some more that I had not seen and these are they're they're studies again and numbered uh so this is these are from lace factories so this is lace Factory and these are on France lace Factory 29 study 21 30 and 37 and what we've seen Kenna doing is breaking out of doing Landscapes these are close-ups they're macros they're abstract a little bit uh you just see this one with the little hooks lying down it's a window shot and I think that's interesting too because a lot of this type of phot tography impacts the composition and the way Kenna thinks about landscapes in fact I almost wonder uh I think a question to ask Kenna is is would he consider himself to be a landscape photographer in the end it's all composition and it's all you know these interpretations of ideas which we've talked a lot about recently too but interpreting ideas of line and shape and abstraction and the way things feel in a composition particularly with the square format you know sometimes I I think it yes he is a landscape photographer but this allows that to break away somewhat and I it's just really interesting to see these collected here um the Easter Island shots uh are fairly well known of his the the moai these large ancestral figures that um they're huge and they're kind of mysteriously left on the Easter Islands and people have different theories about how they were moved and such but uh really really amazing work um and then finally when we start to get into the uh rad cleff Power Station a lot of the ideas with the smoke and the textures and the the way that blurs into the photo gra and and Ken's these are well-known shots the other ones I want to mention to here real briefly um this one's playfully titled Mary pins over Midtown and then this one's the crysler building study number two uh I featured this one in when we were talking about the um the interpretations episode of of location and I featured several way people have shot the crysler building and Ken is no exception and I think this is a really interesting take on New York um these are more recent these are 2006 so they're not that old so it's a little bit different direction for Kenna um rather than dealing with the you know Zen minimalism that we see with a lot of the shots of things in snow and whatnot we're starting to see these cityscapes and there is a minimal quality to them perhaps but there's so much Rhythm and Dynamics going on in these patterns that you see that are just made by the the the lights in the city I think it's absolutely beautiful work and uh Kenna has there's a lot of New York work that's done in here this is another one I think is very different for Kenna this is called morning traffic Midtown Manhattan and what we see here is a landscape but playing against traffic with the you know the shallow depth of field where your your field stops and focus pretty pretty far up in the foreground and so you just end up with kind of the shape and texture and Abstract but also the way this deals with a reflection with what I assume is wet pavement here uh which is really beautiful and really interesting as well another shot of the Empire State Building uh I think there's yet another Empire State Building yeah here's other ones cryo building but anyway you see my point is different interpretations different styles different ways of shooting you know if you look at something like these just these four Images well they group together I can tell this is one photographer so what are those thematic elements that he carries over and sometimes this becomes a very complex thing use of shadow um I think the minimalism still has an influence on these even though they're not as starkly minimal so it's something to think about and then finally uh I just want to end on this one because I just find it so beautiful butth this is called Lighthouse and this is in France as well and this is from 2000 and it's completely blurred shot but there is such a beauty to that that you know I really wish Kenna would start pushing more in abstract directions like that I think he's probably wise not to because he uh um he sells a lot of Prints but uh and his work is absolutely gorgeous and I I definitely wanted to uh to share some of these with you uh another one I found really interesting too and I'll end on this one actually uh this is called Corridor of leaves and this was Italy in 2006 and if you have done done any black and white uh film processing or printing in the dark room uh you'll probably realize how impressive this image is to actually have gotten uh where it's just really there's not a lot of midtones it's pretty much darks and whites but there's so much going on with the hedges and the sharpness as it goes through here and the texture you pick up in the leaves and on these branches and I think this is maybe one of my new favorite K of images um there's just so much to that that that is just drop dead gorgeous that I love so anyway um that is basically some highlights of uh images of the seventh day uh wish I could have seen the exhibition it would have been really neat to see these uh up close and in person but uh you know that was 2010 and we have the catalog today and it's widely available I will link up to this book in the show notes if you want to pick it up on Amazon um not very expensive and uh I think it's excellent so anyway that's Michael Kenna's images of the seventh day I want to take a second and give a shout out to our sponsor today who are the awesome folks over at squarespace.com build it beautiful websites domains e-commerce and more if you're not familiar with Squarespace um they offer everything you need to build a website a portfolio a Blog an online store basically if you have business to do with a website they have you covered and they offer quite a bit for photographers and I want to talk a little bit about that today because I really think they're probably the best in the business for this um basically with Squarespace the first cool thing is you don't need to know how to code or anything about a web server or any of that stuff it is an all-in-one solution they have an unbelievably cool drag and drop content management system so literally if you can drag and drop a folder of images onto a browser and click and drag to move them around then you can build a website and it's that easy the other really nice thing about Squarespace is they have you covered so if you decide you want to do something with e-commerce where you want to sell prints on your website or even downloads of stock photos or something like that um they have all that built into the system and really you just start adding things as products and you can sell actual physical Goods or you can sell digital downloads and they'll actually for physical things they'll even print out the invoice and even the packaging sticker for you so all you have to do is just stick that on there and ship it and you're done um and if you've ever tried to do e-commerce before you know what a godsend that is because that they really just make everything easy um with Squarespace you want to go here and sign up for their free trial and whether you tried it or not or whether you even think you're interested they don't take a credit card nothing like that all you have to do is go here sign up for the free trial and you'll have a week to figure it out and see you know play around with it and build a website and see if this is right for you um when you're done with your free trial it is something you want to subscribe to I can save you 10% off of your order and what you want to do is on checkout you want to use offer code aop stands for The Art of Photography so aop that will get you 10% off your subscription and uh it'll get you started on Squarespace and I would whether you think you're interested or not just go over and do the free trial because it is pretty cool and it is very easy to use um so once again that is squarespace.com build it beautiful and I want to give a special shout out once again to the folks at Squarespace and thank them for sponsoring another episode of The Art of Photography this group of work is particularly interesting to me in terms of Michael Kenna's greater body of work you know we did an episode a couple months ago on Michael Kenan it was just on his full career um I think it's interesting to kind of revisit people from time to time and dig a little further into the work that they do and I think that this exhibition images of the seventh day really did a nice job of that what I find fascinating about it is when you look at a lot of the earlier work that Kenna did and you can see how he would develop this as an artist you see a lot of the influences that he had in his earlier work and this is not uncommon with people but I think it's really interesting to study and see I mean I think his work now he has a much more mature defined personal style that that maybe still has some of those influences in there but maybe less obvious so it's really interesting to look at a body of work like this and see how that progresses and evolves over time anyway I will link the uh um this book up in the show notes if you're interested in getting a copy I would do it fairly soon because who knows how long it'll be in print as I mentioned in the book collecting episode that we did last time and if you enjoyed this video please remember to to like it and share it with your friends and always subscribe so you are up to dat on all the latest and greatest videos that we produce and also I am about to launch the new Art of Photography TV website and so I would head over there I'll link this in the show notes as well but go get on our mailing list so you can get all the official updates I don't send out a lot of emails but when there is something to announce like the new website which I think is really going to be cool um I will make announcements there so uh I'll link that in the show notes as well anyway guys once again thank you for watching another episode of The Art of Photography I will see you the next video later\n"