For me, photography is a means to capture how the everyday elements and forms in our lives often overlap to create unexpected connections and beauty. Sometimes a story can also be teased out to make our day a bit brighter.
The works submitted span three photography genres I am interested in: street, fine art, and abstracts. I am equally interested in color and in black and white and choose what I think works best for the particular image. The Woman in Armchair was captured on film; all others were captured digitally. The street photographs have little post processing other than traditional darkroom processes; others have varying degrees of post processing.
In my landscape photography, as often as not, I’m taken by the small details of the natural landscape as they compete with the grander scale of ‘traditional’ landscapes. Close-up and macro photography presents an abstract of the greater view, conveying the intimacies of the environment in ways unavailable in a more expansive view.
One of the choices I’m often presented with is visible spectrum (full color) vs. the infrared spectrum. The non-visible spectrum reveals a different realm and can create a dreamy or stark image. Multiple options in processing and/or black & white conversion send me down paths I could not predict on-site while capturing the image; new perspectives created by the unseen.
Infrared currently represents more than 50% of all my photographic work (including non-landscape) and I often take the same scene in both spectrums with an eye to creating a juxtaposition of the frames to invite the viewer to grasp or grapple with the unseen.
The photographs I’ve selected for the Carriage Barns’ Annual Photography Exhibition represent selected points in time. Some of the subjects may last, while others are very fleeting. In some compositions, those characteristics overlap.
They share a thread of isolation and remoteness. Especially in this age of disruption and solitude, I try to capture certain imagery that hints of what might be missing. Usually people. At the same time I like to focus on those things that may be more resilient and exude some confidence in their ability to persevere.
The images I’ve submitted for this show were taken with both my film and digital cameras.
This year has been challenging for me as a photographer. I’ve always traveled abroad twice a year to my favorite places to shoot but that has come to a screeching halt this year with the pandemic.The photos I have entered begin with my last trip in February where I stayed at the TWA Hotel at JFK before an early morning flight. Fascinated by the architecture I shot “In Depth” there. The others are shots I took locally along the river and the Sound. My final ends with the beautiful Protea which I received from my sister in Maui as a Christmas present. So the shots are a remembrance to me of this unusual year from beginning to end.
While I am humbled by nature’s profuse fecundity, I can find it visually overwhelming in the context of a still image. I feel that the selective focus I employ in my photography, without any manipulation other than the lens and the aperture I choose, often borders more on portraiture than landscape.
My latest works are abstract representations of the “Passages” sculpture by Thomas Bernsten photographed after a rain storm. The images explore the relationships between color, light, and reflection when water droplets are added to the mix.
With my roots in graphic design, I believe photography is an incredibly powerful way to explore color and composition, light and negative space. Life is fleeting but I hope my images inspire people to imagine stories of what has been and what is to become.
By imagining and escaping through photography, we remain hopeful and inspired to keep moving forward.
I embrace a slow, meditative process of making photographs to seek out subtleties in everyday life that suggest otherworldliness. I am drawn to the delicate warmth of light, the unique forms of nature, and the intrigue of human presence. Capturing these moments on film takes me from my usual state of overthinking and perfectionism to a mental space that is quiet, present, and that welcomes mistakes — imperfections of the physical medium that are often unexpectedly beautiful.
For over 60 years I have been practicing various forms of Action Meditation and I bring that to my photography and artwork. My intention is to create works of art that are not only aesthetically appealing but also infused with high Life Energy. Thus it is my deepest aspiration that my approach to painting and photography can be both beneficial to the viewer helping overcome the deep anguish inherent in the unconscious mind as well as engaging in an artistic sense. This last year has truly been about finding beauty in the mundane and capturing it in a way that is playful and aspirational as well as Life Enhancing.
I became serious about photography as a high school student. As my interest grew, I took up large format photography and enjoyed the more studied, contemplative approach to making photographs. I especially enjoy working in Black & White as it creates an abstraction of the subject, allowing for concentration on Light, Form and Texture. In more recent years, I’ve included digital cameras and printers in my work and often combine both digital and analog processes in my workflow.
The first two photographs listed below represent a departure from much of my photography which is largely landscapes and architecturals.
“Creepy Doll” is an attempt at something a little eerie or bizarre. The light reflected on the doll was natural and not staged.
My goal is to create photos that look more like abstract paintings. It is typically landscape and I rarely adjust the image digitally. Light, weather, and nature are my muses. When in nature, the world is truly a beautiful place.
After a year with no travel, my mind has wandered back to previous trips, with all the wonderful findings exploring a new country has to offer. My submissions best represent what I notice while traveling – catching some curious angle or new color.
I want the viewer to enter and be part of the scene merging him or herself into the picture and experiencing, even for just a moment, what captivates its interest.
I always have the need to hold on to special moments in photographs. These photos are all from 2020 both the pre-pandemic start and the rest of it. This unusual year of deprivation of the normal sharpened my feeling and my focus towards the things we did and the things we got to see.
The Dead Tulip series was a project I created in the pandemic isolation and stay-at-home world we live in today from COVID-19. The flowers were at the end of their life cycle and my cup being half full, I decided to try to show the beauty that still resides within them at this stage.
I shot these images at the Japanese Garden pond at the Brooklyn Botanical Garden in the spring of 2017. The cherry blossoms were blooming and scattering into the pond, and the light reflecting off of the rippling water reminded me of a painting. I love working with natural light and landscapes, and thinking of springtime right now at the beginning of 2021 feels very hopeful and necessary.
The Land bears constant witness and reveals itself as an endless stream of images. But the conscious mind is selective, and memory illusive. My Life Could Be a Dream series works in the realm of perception and illusion and explores our mental processes of combining new and remembered visual inputs while we create our own realities. While the means is digital, I see the outcome as physical prints that celebrate color and form together with literal narrative. I search for models and metaphors in ordinary subjects with which I have a long acquaintance as I explore my own fragile and aging relationship with my environment.
Photography has been a passion and creative outlet since the mid-70s, when I got my first camera. As a student I learned how to print my own black and white images; and in recent years I have returned to black and white for its graphic qualities. I enjoy shooting just about any subject, from action sports to nature/landscapes to studio still-life. The images I am presenting here are as much about color, texture and light as they are about the subjects depicted. The black and white images are influenced somewhat by Edward Weston and Ansel Adams. I am not a professional photographer, but I strive to create and present work that is professional quality.
2021 would be the fourth year my work has hung in this show. This year I’ve chosen a few brighter colorful images.
In the summer of 1972 I rode a motorcycle from Connecticut to California, with stops in most of the Western States. The beauty I experienced on this trip ignited a lifelong passion for landscape photography, mountain climbing, and exploring wild and remote places.
I have visited the American West countless times since that first trip. I love hiking the mountains, canyons and coastline searching for the perfect ephemeral moment to take a photograph of the pristine landscape. I am also fascinated by abandoned structures and other artifacts which create a feeling of nostalgia and curiosity.
My photography skills are self-taught, starting with wet darkroom techniques forty years ago and continuing on with digital photography since 2002.
Now retired from a career as Chief Financial Officer for companies in New York, Philadelphia, and Nashville, I reside in Litchfield, Connecticut.
How does a landscape and botanical photographer keep his passion alive during the Covid19 pandemic when travel is stopped and public and private gardens are more or less closed? So, I opened my Lightroom photo library hoping that something would catch my eye and become the catalyst for a new portfolio. That and knowing that I had to challenge myself to get out and shoot with my camera, led to two new portfolios called “Chasing Clouds” and “100 Shades of Gray”. Two of the submitted images are from these, the third is from another new portfolio entitled “Exotics in Color”.
Richard Hughes is a contemporary American photographer whose journey into the visual arts began early. Born in 1954, he began learning his craft as a young man serving in the US Navy then went on to study photography at the School of Visual in Manhattan and later media communications at SUNY Purchase in NY. Richard works in photography in order to create a sense of illusion and timelessness with the goal and hope to capture images that draw the viewer into a story. “Every once in a while, I will be in the right place at the right time camera ready, and when an instant of perfect light illuminates a subject in front of me, I will react to what I see”.
I spent a lot of time daydreaming in my childhood.
Lying on my back, I was enveloped by the grasses and wildflowers of the meadow behind my home. Time moved at a slower pace, stretching out in long afternoons for contemplating the natural treasures which surrounded me. I acquired a vocabulary of flowers, from simple daisies and violets to the complexities of jewel weed and Queen Anne’s lace.
At that point in my life, I was unaware of the generations of writers, artists and photographers inspired by these fields. Only much later did I learn of the work of Thoreau, Singer Sargent, J Alden Weir, Mary Oliver, and Eliot Porter who had found poetry in similar landscapes.
Today, I can get lost in the intricacy of dandelion heads gone to seed, or light streaming through the petals of buttercups. My work explores the wild flora of my native New England as I collect specimens. Through a series of layered scans, I create fantastical “imagined gardens”, in defiance of seasons and microclimates. I find these roadside natives to have an exuberant beauty and grace often lacking in their more cultivated companions, and admire their visual fragility which masks a surprising hardiness. As the built environment encroaches upon open space, and climate change threatens the diversity of our native species, I find it compelling to look closely and bear witness to the glory and resilience of this humble botany before it disappears under more pavement.
If I have learned one thing during the Covid lockdown, it is that I really enjoy travel photography. I like to explore nature and make images that transport the viewer or capture a moment or tell a story. All that has been severely curtailed by our current situation. the two images of lilies and tulips are my attempts at creativity while sheltering in place.
Photography for me is not documenting what the camera sees and captures , it’s an art, an expression of reality, extraction of inner beauty, showcase of how I see the world through the lenses of my camera.
It’s a bit of like looking at life through pink glasses, but not because I want to embellish it, but because nature IS breathtaking and humans CAN BE loving, beautiful, caring, and radiant. On my pictures I make you notice what I see when I look around: kids innocent smiles, powerful play of waves, bottomless women eyes, whimsical sun rays, gentle flowers, human meaningful interactions.
On my journey as a visual artist I have tried to work in a variety of themes that interest and inspire me. From these themes I work to create images that speak to me with regard to that theme. One of those themes that has struck a chord with me is the New England Barn. There are so many of them spread along the landscape but some speak truly are architectural wonders that speak to me with regard to their color, shape, texture, light and placement on the landscape. I have entitled this series the “Poetry of Barns” and each of these images have a poetic feel to them: a certain flow of feelings that radiate visual words that describe them.
Light is my biggest muse… or obsession. Anywhere or at any time light influences my visual and visceral draw and I am constantly compelled to harness or capture that light.
I marvel at the smorgasbord of light I encounter in the varied places I’ve wandered, its fickle and transformative affects on its surroundings. Having lived abroad in a very vertical city, I’ve witnessed the fantastic play of light trickling down, bouncing off, reflecting, defining; and how it can compose or alter an experience. In most of my photos, it’s the layers of the encounter which have grabbed me.
I shoot in 35mm, appreciative of the depth and tangibility of film which lends itself to revealing a real and sometimes-slightly-flawed nature of things.
I am equally awed by light’s play on a suburban street as well as a far eastern alley or a fern-slewn forest
I approach photography as a medium in which the aim is to reveal essential facets of the world around us that may otherwise be overlooked. Consequently, I often try to utilize subtle abstraction and alternative points of view to illustrate concrete reality.
Each of my pieces begins with original photography and usually multiple images are used to form a piece. I love working with saturated color as well as starkly contrasting black and whites and very often do a study of the same piece in all its beautiful transformations.
The digital art experience provides an outlet to be unceasingly creative, continually working and reworking pieces with the click of a mouse. Every new layer or filter creates endless possibilities, tapping into the unlocked potential that exists and providing the feeling that there are no barriers.
Having grown up in New York City, I am continually inspired by the messages that are plastered around the grittier areas of the urban landscape. Channeling these messages led to my first pieces, political and provocative in nature, as well as exploring the power of language.
Using direct communication from the streets as well as social media, my intention is to confront modern social commentary with a splash of sarcasm and humor. Influenced by artists Mel Bochner, Barbara Kruger and Andy Warhol, I am in a constant state of exploration.
Raised on film and in a darkroom, I look through my camera’s lens and move more slowly, breathe more deeply. I lose myself in the world around me. Photography has been my passion, my true self, for as long as I can remember. Using my camera as a paintbrush, I strive to create images that capture the essence, emotion and soul of places and things. Layering image upon image, feeling color and energy, light and line, shape and form, my images tell a story of what has been, what is, what will – or can – be. Each is a unique moment in time and space, never to be duplicated but yet destined to transcend time.
(Constellation, noun: An assemblage, collection or group of usually related persons, qualities or things)I use photography to explore that which I love and yet don’t fully comprehend. My work is primarily figurative, often focusing on the people closest to me. For me photographing a subject is a way of touching them, a way of seeking out a deeper understanding of their nature. Recently, my work has explored mental health, as I try to come to terms with the nature of my own mind and its workings and how family history of anxiety and ADHD have affected my life and that of my daughter.
The submitted pieces are a part of a new series of work created during the 2020 pandemic called “Constellations”. At the beginning of our time social distancing, I found myself setting aside my digital SLR and reaching for an old medium format film camera. The tactile process of loading the film, of being careful and thoughtful with what I chose to capture, even the length of time it took to ship the film to the lab and wait for it to be developed – it all felt apropos to the time that we were living in. It was a chance to slow down, take stock of what was important – and yes, try to deal with the chaos in my brain and that of my daughter’s. Like a writer letting a character lead the story, I took notice of what I was visually drawn to.
What emerged was three visual constants – myself, my daughter and the patterns in nature. As the images came in, I kept coming back to displaying them together – they felt like they needed to work together to tell a story. Thus, my “constellations” were born – combined images to tell a story and evoke a feeling of the often emotional time we spent together. The assemblages of images are a bit dreamy, a bit otherworldly and often chaotic – representing a state of unease in our new world. Using multiple images and shapes to create a sense of movement, I aimed to only capture the frenetic state of our minds as we struggled to deal with our new way of living, but also touch upon the complexities of the inner workings of our brains.
My photography practice is a way to see and document changing moments.The two 125th Street images are part of a series of day to day commutes on the Metro North train. I have been documenting this stopover for more than a decade and I love the way the bench, the lamppost and the bridge provide frame, depth and perspective and an ever-changing glimpse into the heart of Harlem. The third image Basketwoman epitomizes fashion and elegance on the beach in Cannes, France in 1977 and also for me represents my old-fashioned black and white 35mm Tri-X film photography of that special time. The Gate Before Sandy had been a point of beauty that I observed every year; suddenly it was gone in the storm. The Santa Clara image was also a moment of hope, Cuba in the brief open period in 2016. The Lion Muse also represents a recorded moment of a body painting about to be erased. The sitter is the muse for his artist sister
I am submitting these shots from the natural world – all have inspired me, whether I’ve basked in late day rays, found mesmerizing patterns in the sea, or imagined myself diving into the water droplet on a hydrangea. Nature transports and transfixes and provides a constant source of solace in uncertain times. I provide these images as a messenger rather than a creator.
Architecuture of the Organism
The human form embodies a fascinating duality: underlying the softness of the flesh is the solidity of the skeleton. This underlying architecture, and the way in which pieces fit together are often overlooked. We are accustomed to seeing the body as a whole, seeing the parts only in relation to that whole. When we see a hand and a torso, we subconsciously “connect the dots” to see them as part of an integrated organism.These images are part of a new series, interrupted by the Covid pandemic, that deconstruct the body, showing different parts in a way that is difficult to reconcile at first glance. The resulting images are sculptural depictions of the body that, while abstract and surreal, illustrate the underlying architecture of the human form, forcing us to recognize the separate components.Gestures of Dance
Although dance primarily is movement, it is full of gestures and moments of stillness. Watching dancers move, I often see a series of “flash bulb” moments instead of a “movie”. This project explores the gestures of dance, finding moments of stillness within the movement. Without the connecting movements of dance, the images appear abstract and surreal. The diptych presented here is drawn from individual images exploring the geometry of gestures and movements.
Seeing my fellow daydreamers in that perfect moment of serene contemplation takes my breath away. To have my camera at hand and feel all the elements come together is purely joyful. Whether the subject is a child engrossed in thought or play, or perhaps, even nature in itself in its own little daydream it draws me in, and I hope the viewer in too.
My photography reflect my life and my family. Most images are created with a Nikon DSLR or iPhone Camera. The images are enhanced using Adobe Photoshop.
After a career of commercial film and video production, McGuire is revisiting his early passion for B&W documentary still photography by printing negatives he has shot over the years. Having started his career in film, McGuire finds it is important that these images were created in the camera, printed in the darkroom, and not digitally modified. These photos represent his early documentary style.
McGuire believes in the power of images to enlighten and change people’s minds. Photos need not only to record, but more importantly, to elicit emotion and bring the viewer into the lives of the subjects.
The body of work I present explores the intricacies of the natural world. Focus is on images that are created on surfaces by reflection. Some objects when reflected on a surface such as water can take on various shapes or blend colors creating impressive abstract forms. Other objects reflect the mirror images but viewed from a different perspective are seen as more interesting or engaging.
I am very much a visual traveler interacting with the world and ideas on a variety of levels through several planes of vision that intersect with time and space. At those intersections, I hope to capture an intriguing moment and portray it from my perspective. Often, I venture well beyond the pathways of others in my photographic journeys.
Color, light, and gesture are important elements in my work. My use of these varies intrinsically across landscapes, nature, people, and culture. My choices of timing, perspective, and composition are intended to draw the viewer into the setting and moment. Often, I try to pattern my pursuit of opportunities to the natural tempo of what I see.
In creating art, I try to remain open to possibilities, trust my instincts, and discard labels that are divisive. I use technology to increase my creative options and productivity, but not to replace my vision and responsibility. While not intending to create a style, others tell me they perceive one although descriptions of that style often vary. I feel this indicates my art has been well-considered and engages viewers in unique ways.
As an artist, I hope my images engage the viewer’s attention and interest, and perhaps enrich their experience and vision. To the extent this happens, I feel my art communicates in a way that is unique to me.
My work in both black and white and color addresses specific visual ideas and constructs both directly and indirectly at times. They include a concern for what I consider the social landscape – the manner in which people appear and alter the spaces they inhabit. I have focused, as well, on the ability of the photographic image to convey or suggest a narrative that is open to individual interpretation. Relying on intuition I seek to enable the viewer to experience a moment in time, to look past the impact of color, scale and form, to extract meaning that is implied or disguised. I continue to be fascinated by the ability of the photograph to capture nuance and detail, and information unavailable in other art forms, to facilitate an experience both visceral and cerebral.
Memento Mori is a theme most often associated with symbols representing the passage of time and death: objects to spur a contemplation on mortality, the fragility of life and, as a corollary, the folly of vanity. In recognizing the ephemeral nature of the subject matter these images of flowers, captured in fleeting moments of their deterioration, for me are the perfect embodiment of this esthetic. Expanding on this theme I also seek out the dignity and even the beauty of the transition through life’s stages. In a perfect bouquet one bloom is virtually indistinguishable from the next, but as they die each stem is transformed and reveals a unique personality. To these images we can ascribe meaning: some are melancholy, some vulnerable, some are proud and some exude vitality. Through gesture and form they become compositionally intriguing and metaphorically rich. They refute the idea that beauty should be defined solely by youth and perfection and assert that with age comes character and grace.
I am passionate about photography as an art form. In a world overfull with images, ideas, and messages streaming at us at warp speed, there is profound value in the thoughtfulness, the provocation, the silent aesthetic, the power of a single image made with the vision and ever evolving techniques of fine art photography.
After all my kids’ schools went virtual it became clear that they were not going to have an 8th grade graduation or even a group portrait for graduation. My wife and I photographed each 8th grade student and through that process, I tried to show the impact of social distancing on me and many others. Frankly, I felt isolated, not “socially distant”. I am submitting a few from the series.
I choose these six images because I believe that they represent our recent lives in quarantine for the past 9 months. We have been forced to become more solitary and distanced from our friends, which leads to spending more time in nature, playing board games with our families, and finding joy in small activities. As a student at NCHS, I used different photography techniques that I have learned in class to capture images that all show different aspects of our newly impacted lives.
The subjective. Memory that is intentionally or willfully recalled.
The collective. Memories one “subjectively” remembers but
did not necessarily experience.
The involuntary. Memory that is provoked or maybe invoked by something.
Spomenik is the word for “monument” in the language(s) of Yugoslavia. The root of the word, “spomen,” means “memory.”
The work in shown here is part of a large series and is the artist’s effort to contextualize and comprehend the uniquely Yugoslav space these monuments (Spomenici) occupy, specifically through the lens of memory. It is also an attempt to recognize what it means to have monuments to fighters of a country, for an ideology, that no longer exists.
These images represent but a handful of the monuments in the former Yugoslavia. And the hundred or so still remaining are but a fraction of the thousands created in the era following WWII.
The photographs I am submitting are derived from my Documentary Photography class as a student at New Canaan High School. I enjoy introducing my work to others because I want to share my passion for exploring different lights and settings through the lens of a camera.
Landscape, architecture, nature, and design; I aim to have a broad portfolio and push myself in multiple directions as an artist. Please enjoy a small collection of some examples of works in these areas.
Using old dolls, I photograph scenes that reflect moments not seen in the family album: the darker side of childhood. These moments become memories that linger in one’s subconscious and follow us into adulthood. I want to capture the vulnerability of a child’s world, the dependency and confusion that exists when the parent you have is either violent or remote…the longing for love and comfort that may or may not come.
The works I am submitting were all taken in the summer/early fall of 2020 and all locally, along the Long Island Sound. I spent more time enjoying the local coast this summer due to the pandemic and not being able to travel. I was determined to make the best of the bad situation and to find beauty in the everyday. While everyday may not be good, there’s also something good in every day. How fortunate we are to live in such a beautiful part of the country!
This past year my family was together more than ever. My four children did virtual school in the spring. We had limited socializing during the summer and the fall brought us together again. I found that photography was a wonderful outlet for me whether it was focused on my family or the world around me.
“Working for newspapers over the last 15 years has provided me with opportunities that I am very grateful for having. I have always sought to find truth and nuance in every day life, but the older I get the more depth I seek. 2020 was obviously an especially interesting and challenging year. The #blacklivesmatter movement came to the Vineyard (Martha’s Vineyard – where I live several months a year and work for the Vineyard Gazette) in an overwhelming way – for it’s supporters but also for its naysayers. But it was the youth that took over the rallies and marches. Our future. The one photo of the boy with his Scottish Highlands cow herd, and other farm animals, is a child of farmers whose children could not go to school due to Covid so they put them to work. I spent a day with them – and I witnessed the silver lining of children having to stay at home. Six-year-old Henry Scott and even his little four-year-old sister, have been taught to love the earth and all its creatures, and sensitively take care of them. (Just coincidentally, the shot of the little girl being tossed into the air is the same family, taken two years earlier, when I didn’t know them.) This is all to say, that for me, there is an important story behind each of my photos. Even the picturesque. “Stars and Stripes” was taken on a cold still night in December – one that made me reflect on the year that wasn’t. Not a normal America. The shot of Carly Simon and her friend/muralist (2019) that painted Carly’s iconic Hot Tin Roof club, and many rooms in her house, including her home studio, where this shot was taken, was a bit of a reunion and a delightful moment when Margot picked up the tambourine. Then, in juxtaposition to all the others, I wanted to add another shot before Covid…perhaps a moment we took for granted – a bustling Times Square with its literal cast of characters.”
Photography has relied on technology to capture and create a physical/virtual artwork since the process began. My photography relies on emotion to recognize an image, technology to capture it, and both to create a visible print. I call my process Improvisational Development; my work evolves through various stages which focus, guide and intensify my emotional involvement with the emerging image. The choice of tools relies on conscious awareness of their effects, and improvisational choices change direction, producing an evolving emotionally-driven image. There is always a blend of conscious decision with mindful guidance. When my feelings reach a still point, I know the work is done.
Over the past year, I have given thought to what direction I wanted my photography to grow. As a child I loved the “hidden pictures” page of the magazine Highlights for Children where one had to search for various objects hidden within a larger full page picture. I was fascinated. Living in the mountains surrounded by lush forests and a spring-fed lake, I started looking below the lake’s surface to see the organic growth below, to combine the skim of ice with the organic structures along the edge of the water; as the seasons progressed the detritus of fall became a project with colors and graceful decomposition. Using my camera to see multiple layers has opened a new world of exploration and discovery.
The pieces I submitted reflect my passion for macro flower photography. I enjoy the challenge of finding eye-catching blooms and then seeing them through the lens in a unique way. My images consist of bright bold colors, textures, and emphasis precise details to capture the true beauty of each flower. This reveals how by nature, each flower is truly a masterpiece.
My photographic interests are varied and continue to evolve. These submissions range in subject matter from landmarks in New York City and Rome to street photography in Bologna, Italy and New York City and a river in rural New Jersey and a desert canyon in California.
The enclosed work that I have chosen to include for this years 41st annual represents two different themes. The first is a series that I call ‘Three Boats. Like its namesake, the subject is, of course, thee boats sitting tied to a mooring on the Kennebunk River. I was doing business in Maine, which brought me up there throughout the summer. Every morning I would see the boats, moored and waiting.
When shooting nature or landscape subjects, timing is everything. The light, the wind, and in my case, the tide, all had to corporate.
Each time I would pass the scene, one or more wouldn’t be optimum for shooting. In late September of 2020, there was the “ Perfect Storm,” the photography God’s shined down on me. Early that morning, a dense fog moved in because of unseasonable warm weather. I had morning light, a moving tide, and thick fog to give me the ethereal zen-like look I had been after. The series was shot with an Olympus OM-D M1 mark 3 mirrorless camera and an Olympus Pro 12-40 2.8 lenses.
The series, FIGUREHEAD : As the ‘eyes’ of the ship the figurehead has always looked outward to assure a safe voyage. In this series, each woman interprets herself not only as the eyes, soul, and strength of, she is foremost the Captain of her own ship.
The series, CARRARA : the emergence of the painted female nude, chiseled and honed from the quarried marble of the Apuan Alps, as a finely sculpted figure and transformed into the emerging woman.
The series, OBJET d’. . . : A satirical reply to those who’s objectification of the human form demeans the individual. By presenting the person, many times in a unique location and in a pose that could be replaced by an object in an exotic magazine advertisement, the woman becomes nothing more than a decorative object to be desired. With no other intent, those attempts become part of the problem, not the solution.
i think I like each photograph to represent something a little different than its actual self. For instance, a bee working to pollinate and thus help our world might be termed Gladiator. An image showing three dimensional could be how I imagine Space to be. A close up shot is Quanta. An image of vibrant colors is; colors. I try to be organic as all the images save one were taken in my yard.
I have created a collection of photographs I made in 2020 that I call MoonScapes, as I have documented the full moons of each month, as well as a few other noteworthy astrological events unique to 2020. Herein I present the 3 photographs which I consider the most dramatic of the series. Enjoy!
“Semaphore” examines the shift in my perspective after having been diagnosed five years ago with Parkinson’s Disease. Through images, I consider what it means to integrate this life-altering information into my sense of self. What does acceptance look like?
Post diagnosis, everyday items and experiences take on new meaning. New tasks top my “to do” list each day. Simple tools now represent challenge. Uncertainty pervades the periphery surfacing my vulnerability. As I look around me, the branches of trees become networks of neurons, or resemble tendons in my wrist imaged by MRI. Acknowledging these signals facilitates the process of adaptation.
Optimism holds the key for me right now. Light, always an inspiration, illuminates a path for me to follow. And I go.
With this project I aim to connect with others whose journeys also require growth, patience and perseverance to move forward.