Downward Spiral, Chicago 2006
Creating iconic images of the ethereal beauty found on Earth, I consciously avoid negativity in my work (there is plenty of that to be found elsewhere in Fine Art Photography).
Notwithstanding the content of my images, Blog Posts are often motivated by the author’s state of mind at the time. Personally, I have been dealing with some serious health issues for a while and therefore have been reaching into my (extensive) archives for images to post rather than creating much new work.
That fact has brought me to the title of one of the first two jellyfish portraits that eventually resulted in my popular series: FLOW. Although I feel that I have been in a Downward Spiral during this process, I will, as always, fight the good fight in the hopes of coming back out into the light, and continuing to create work that inspires. Here’s hoping for the turn around…
Parental Guidance, 2010
BSG’s image: “Parental Guidance” made the daily post of YourDailyPhotograph http://eepurl.com/bk2i8b (right above the image of Marilyn Monroe by the great Richard Avedon).
In the recent past images from Henri Cartier-Bresson, Andreas Gursky, Richard Misrach, Andre Kertesz, Edward Burtynsky and other photography legends have appeared in YDP
The site is sponsored by the Duncan Miller Gallery http://www.duncanmillergallery.com/ of Santa Monica, CA and YDP appears in 74 countries. My sincere appreciation to the DMG/YDP for exhibiting my work.
The slanted rain of an approaching storm signals Mother Nature’s nearing onslaught. Storms move very quickly in the Florida Everglades and can be seen from great distances due to the lay of the land. I, for one, have been caught in more than my share of downpours when I waited too long to get the best image, and she punished me for it.
Recently I have tried showing some of my select Fine Art Prints for sale on the Saatchi Art Collection at http://www.saatol.us/1K9YK3d
Hopefully, there will be an approaching storm…of new collectors.
Low Tide, Nubble Light, York, Maine 2004
Staying with some of the older, classic images from my archive, I post this rendition of the (very) often photographed Nubble Lighthouse on the Coast of Maine http://nubblelight.org/. One of my earliest Fine Art images captured digitally, the natural light was gorgeous and the low tide exposed the waterline on the rocks when we arrived at the spot from which the famed lighthouse is most often viewed. Knowing I had to try and add something to the image that made it my own, I noticed that there were a couple of seabirds flying continuously around the island on approximately the same path during each turn. I set up my tripod for the best composition and followed the birds in my minds eye as they circled. When I felt I had one placed in the perfect position, I clicked the shutter. The other bird is actually blurred in flight directly below the bird in the sky, and in front of the white picket fence.
Hence, my timing worked out, thanks to some great light, and a couple of cooperative…and predictable, seabirds.
While scouring my archives for early images, I came across one that was probably the earliest Fine Art image that I actually specifically worked to create. This image was shot so long ago, it was originally captured on film and scanned to digital for presentation here.
First, as I have mentioned before, when traveling/photographing I always sought out the view with the best photographic potential. In this particular case, the first room available was too low and had palm trees blocking the view (can you believe that I can actually remember that far back?). After moving to a higher floor with an unobstructed view, I set the (Minolta) camera and tripod on the balcony during an evening lightning storm. As explained in previous posts, the trick with lightning is to leave the shutter open until you believe you have recorded the lightning strikes that best fit your composition. In this case, I lined up the beach chairs (lit both naturally and by the building I was in), a wooden storage hut and a small beached catamaran along the bottom of the image. If you look closely, you can actually see a small campfire on the beach, just left of center.
After composing the image, I shot throughout the night, opening and closing the shutter after various lightning strikes were exposed on the film. This, the best image of the night, shows two strikes approximately 10 minutes apart. After visualizing where the two had hit, I closed the shutter (and in those days) had to wait until the slides came back from the developer to know exactly what I captured.
Thanks to Mother Nature, the perfectly fitting composition of the Two Strikes (if I do say so myself), convinced me that I knew what I was doing with this Photography thing and with that knowledge and a bit of luck, I could create images that…stand the test of time.
Wormsloe Plantation, GA 2008
Although I usually avoid images that have been shot before, as cliche’, sometimes a scene is just irresistible. Such was the case at the entrance to the Wormsloe Plantation near Savannah, GA.
The keys to a successful image of tree covered roads, are even lighting… and not getting run over. Very often the sun shines down through the trees making it impossible to get a consistent, even exposure. This image took a great deal of patience waiting for the clouds to cover the sun while moving the tripod I had set up in the middle of the road, whenever a car drove in.
I like to think I put a classic spin…on a classic image.