A Winter Day at Taliesin

All photos © Mark Hertzberg (2022)

I have been to Taliesin countless times, but never in winter, until Sunday when we had a lunch date with our friend, Minerva Montooth. It had snowed overnight. We would not be able to get to Spring Green until Noon, so there would be no photos in the morning’s “golden light.” I fared better in that respect in the late afternoon. But in between, at Noon, there was a rich, rich blue sky.

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Except for this first photo, I am taking you on a tour of Taliesin in the order I photographed the estate. Get comfortable, there are lots of photos. and you will see how my day’s take evolved. The first stop was a drive through the Visitor’s Center or Riverview Terrace. First, this establishing shot, and then a few details that caught my eye:

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Then onto Hillside, to enter the estate from that end…but I found that the driveway is closed for winter. No matter. I saw these views of Midway Barn and Romeo and Juliet windmill on the road to Hillside. The towers are vertical punctuation marks to the horizontal composition of Midway:

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I played with different ways to photograph Romeo and Juliet and Tan-y-Deri as we approached the driveway to Taliesin:

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The house as seen from the approach did not photograph well at midday, but I took record shots. I wish there was more snow on the hill below the birdwalk:

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I was happier with what I saw from below the house, starting with the lead photo in this piece.

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I am a photojournalist. As we say in our circles, after you find a photo, you “work it.” I have to thank John Clouse again for offering to sell me his 200-500mm lens at a good price last summer. While a newspaper colleague of mine in the early 1980s – before today’s fine zoom lenses – once said that “The best telephoto lens is your feet,” (i.e., walk toward and away from your subject rather than rely on the lens), this lens was especially welcome on a cold day after a fresh snowfall. I thought of the countless treks through the estate that the incomparable Pedro Guerrero made when he took his many memorable black and white winter photographs of Taliesin. What would he have done in color, or would he have stayed with black and white, which he printed so beautifully?

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The bird walk is an extraordinary cantilever:

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Caroline Hamblen was returning from feeding her chickens in the apple orchard as I crested the hill:

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Then it was time to park and explore on foot:

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The next photo is at Minerva’s front door:

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I saw this on my way in:

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I saw this on my way out after lunch and lively conversation:

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Then, one more swing through the estate with magic light at the “golden hour”:

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Farewell, Taliesin, until next time!

 

 

 

Exploring Wright with my cameras: 9.17.19

(c) Mark Hertzberg

I have written several posts this year about the stimulating challenge of finding new ways to photograph Frank Lloyd Wright- designed buildings on my umpteenth visit to them. This week I am helping lead my fourth Road Scholar Wright – Wisconsin discovery tour of the year. Today’s photo adventure was in the Annunciation Greek Orthodox Church in Wauwatosa, Wisconsin.

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The photos above were all taken from the same seat.

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The next two pictures were quick grab shots at Monona Terrace in Madison. They show the Wisconsin State Capitol framed by jets from the water fountain on the rooftop garden level:

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Tomorrow we are off to visit Jacobs 1, the Unitarian Meeting House, Wyoming Valley School, Taliesin, and Hillside Home and School. Will I see something new? That’s the challenge! It happened often in past visits with RS groups this spring – and I have posted those photos – but I won’t force a photo. If nothing speaks to me tomorrow, so be it; I can’t shoot something just for the sake of taking a picture.

Photographing Familiar Wright Sites, Part 2

Photos (c) Mark Hertzberg (2019)

A few weeks ago I posted photos that showed new things I saw at Frank Lloyd Wright sites that I had visited “umpteen” times. I was helping lead a Road Scholar tour and had told the guests that one of the joys of Frank Lloyd Wright’s architecture is the challenge of seeing his work in new ways on return visits. For me that means I have a personal challenge to see new things to photograph. On my visit to Taliesin last Friday – just two weeks after my last visit with a Road Scholar group – I saw many new things. One cannot help but be on the lookout for new things with Cate Boldt as docent (and that is not to diminish her colleagues’ skills, but, well, Cate is Cate!).

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I cannot count the number of times I have been in the living room at Taliesin and seen the piano. This was the first time I saw it this way and thought about Wright and his apprentices sitting next to the windows and gazing out at the “Valley of the Almighty Joneses” (the late Edgar Tafel, one of the first Taliesin Fellowship apprentices, often told of Wright directing him, “Edgarrrrr, play some Bach!”). Hats off to Cate for sending me into the small kitchen adjacent to the living room to look for our friend Minerva Montooth!

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How many times have I seen the old drafting tables in the original drafting room? This is the first time I have seen photographs in them:

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This is what Wright called “the belvidere,” framed by the wisteria plants outside his bedroom:

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I led my last post with a view of the farmland framed by a window near the bird walk. I saw more things framed by windows this visit. Two photos look abstract because I shot them as my camera’s autofocus was hunting for a focus spot:

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And, seen from the entrance to Hillside Theatre:

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Sometimes the architecture itself frames our view:

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Sometimes the red shuttle bus can add a point of interest, instead of being an element to crop out of the photo:

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The next two photos are from the Jacobs 1 House and the Unitarian Meeting House in Madison:

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While I have your attention, on June 14 Nick Hayes, steward of the Elizabeth Murphy American System-Built house in Shorewood (Milwaukee) will present a program about the house and the ASB homes in Milwaukee. I encourage you to hear his presentation:

https://uwm.edu/sce/courses/how-frank-lloyd-wright-built-an-artistic-legacy-from-a-tiny-house/