Presentation and cataloging of the contemporary photography and fine art folios of Malcolm Graeme Childers—artist, photographer, poet, author, and composer is the purpose of this website. You can view Malcolm’s digitally authored photography an hand fine art images in their respective topical galleries by clicking on the appropriate link on the pad belwo the image. Click on ordering information at the bottom of any window for details about acquisition.

We can be contacted by email at malcolm@malcolmchilders.com or toll free at 1-888-488-6714. 

A separate website, www.ROADSONGS.com, is devoted to Malcolm’s recently published world class, triple media, studio art book Roadsongs, A Journey into the Life and Mindscapes of an American Artist. The book is currently available on that website. 

All art and texts on this website are copyrighted and owned by Malcolm Graeme Childers. Nothing on this website can be used, printed, or electronically transmitted without his written permission.

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"Dawn Reaches Under," the Funeral Mountains, Death Valley National Park, California

Check out our coverage of Malcolm planet scale conceptual artwork- A Gathering of Horizons with its evidentiary 111th Meridian Project Photogrphic Gallery.

We have four new galleries: Italy-Land of Renaissance, Greece-A Place Where Europe Began,

The Hand Art of Malcolm Graeme Childers and as you can see below, Art of the Panoramic Image.

The Real Earth manages the fine art of Malcolm Childers.

The malcolmchilders.com Art Web log

The artist invites an online dialogue with those who wish to bring their insights, knowledge, questions, and critique of the topics below. We will publish your reactions in the interest of stimulating the greater human knowledge base for the good of our readers.  If you do not want your email thoughts to be published on this website, please indicate your preference at the beginning of your email. Only your initials and location will identify your comments. We welcome your comments, even if you choose not to publish them. Click on the contact us email link to send your response. Thank you for your interest.   

Respectfully, Malcolm Childers

S.T.O.L. (sufficent time on location) A Life Based Experiential Projection by Malcolm Childers

We all know places so photogenic that anyone with a disposable camera, one good eye and a love for interesting or beautiful things could go, take a few pictures and come away with something nice. Grand Canyon, the Bryce Mountain Canyons, Yosemite, and other National Parks seem to drip with juicy photogenic effusiveness.

Its almost as if when we see a good photograph from one of these benchmark beauty places we secretly think, “Nice shot but I would have to see other work by this photographer to be sure his or her work is really good--I mean you could just shoot from the hip like a desperado in that place and get a great photograph.”

Then there are the places that don’t hand out eye candy like the neighborhood grandma but leave you with a sense that; given a little hard work, ingenuity, luck, and what I call S.T.O.L. you could tease a few jewels out of the sand.

A classic example of S.T.O.L. would be the time in the 1940’s when Ansel Adams spent an entire week in Lone Pine, California, getting up every morning in a good hotel bed, getting dressed, having breakfast, driving his Woody Cadillac a few miles out of town, setting up his 8 x 10 view on the same spot and waiting for exact moment when finally the sun streamed through the clouds and illuminated the horse in the field—click. I have always thought that this was also a good example of the lengths a person would be able to go to if they are born with a silver spoon in their mouth.

This is particularly poignant when you contrast Ansel, silver spoon, Adams with his contemporary Edward, thin-shoes, Weston who often had to decide whether he was

going to buy film or food. Weston, if he were even able to get to Lone Pine, he probably could only have afforded a drive by shooting. Ansel Adams was never a desperado.The contrast between these two photographic masters is important because your range of S.T.O.L. is directly proportional to your hunger for beauty as you see it and your discretionary assets. This could be at least one of the reasons why there are so many good nudes (mostly of his lover) by Weston and so many good and widely scattered landscapes by Adams. They were both living up to their means.

If you were initiated to the visual world, as I was, in the 'Edward, thin-shoes, Weston tradition,' it affects the way you approach any given subject and often favors the film format you use. Instead of waltzing about the landscape hypothesizing where the sun will rise, where you will set up your tripod and how many foot-candles of light will be available at 6:26 tomorrow morning, you, like Henri Cartier Bresson tend to have your camera preset to optimum hyper focal distance just in case William Faulkner and his dog stretch at the same time. Oddly enough, even the 'Edward, thin-shoes, Weston approach requires a kind of 'Right Place at the Right Time' intuitive S.T.O.L.

Of course there are many crossover examples like the time Ansel nearly drove his woody into the ditch, broke out his 8 x 10 and set it on his Cadi-roof-rack and made two exposures in under 15 minutes flat without the assurance of his light meter. That little drive-by generated one of the most enduring icons in photographic history, his Moonrise Over Hernandez, New Mexico. Both approaches can produce great photography.

So if your bank account doesn’t allow for that junket to Tahiti or the Italian Alps, just remember our lean but driven hero, Edward thin-shoes. Get out your macro lens and tripod, and go into your own backyard or neighborhood. Expand you horizons. Visit the world of the magically small, of which most people know very little. The World is virtuous enough for all visual approaches.

Landscape Art and the Growth of Human Consciousness A Philosophical Hypothesis by Malcolm Graeme Childers

I sense that the landscape in art history and its modern offspring, fine art landscape photography, are indelibly linked to the larger growth saga of human consciousness. To get a broader view of the historic development of the fine art landscape, look at a timeline in any good art history book. Human art expression has had an animistic focus for at least the first 80% of the history of modern Homo Sapiens. Even a cursory examination of the topic will show that the dedicated art landscape is an extreme latecomer in the overall history of human aesthetic expression. The human figure along with its animal companions has been the prime focus of human artistic expression ever since we first began painting or pecking images on the walls of caves or fashioning idols and fertility icons from stone and clay, a span in excess of 80,000 years.

Among the earliest surviving examples of a western landscape is a fresco of a coastal scene with swimmers. It dates from the fifth century BC and is located in the early Greco Roman settlement of Paestum in Southern Italy. There are vestigial garden scenes on the wall of Pompeii that date from the first century AD. During the Romanesque Period, mosaics dominated wall art. Mosaics, though capable of depicting landscape, were by their very nature more conducive to figurative art.

The landscape in western culture reappeared with the rebirth of the fresco usually as filler behind a main figure or figures. Oriental artists may have produced their first dedicated landscape centuries before their Occidental counterparts.If so, the exact dates are obscure.

The first dedicated fine art landscape in Western Culture, however, has an exact date. On the 5th of August 1473, Leonardo Da Vinci did an ink drawing of a vista in the Arno Valley. His sketch, Day of St. Mary of the Snows, was the first time anyone in the western hemisphere had devoted the entire content of an art expression exclusively to landscape. His sketch was just another first for the Renaissance progenitor of so many unique ideas.

Gradually, since that first drawing, Occidental artists began to see the places where they lived as well as the world in general as a subject worthy of their efforts. The Renaissance gave western culture other acts of gratuitous landscape awareness. Petrarch, the noble philosopher/writer, is generally considered to be the first man to have climbed a mountain simply because it was there. A fascinating new edge on human thought when you consider that the only reason such an endeavor would have been undertaken prior to Petrarch, would have been to reconnoiter the land you were planning to conquer or to find a new homeland.