Field Notes 4

Here are some images from my recent Southwest trip.  In a place of such overwhelming power and sublimity the problem exists for me "How do I make interesting images that are different from the ones I have typically seen from these areas"?

Generally the ones I have seen are traditional landscape style images and are not my cup of tea. Not that making really good ones in that genre is remotely easy it is not, but there are plenty of great ones out there.

It is my hope to create new thoughts and feelings from a well worn photographic subject.  I hope occasionally I have succeded.   Thanks for visiting, I will add more images here as time permits.

Field Notes-3

Some images I made in Atlanta that I'm interviewing with many more in the woodshed.  Some are more singular images while others have more of a strait document feeling. To note I enjoyed chatting with many friendly people from the city it is a great town wish I had more time there.  I was also able to spend some time working on the road this summer in Charlotte, Durham, Gatlinburg and Ashville.

I don't think any of these are keepers but I am getting my feet wet with new software, new PC, new OS, add infi-NIGHTMARE!  Yes its Pita time once again.  Wow what a time we live in, it should keep all our brains very sharp.

I have a trip coming up, going to the southwest/4 corners area so that should be interesting. Don't think you will find any great American landscapes from me but we will see, last trip there was an eye opener.

Click the above photograph to see the images larger.

 

 

 

reflections (1977-2005)

WHERE I STARTED & WHERE I AM NOW (2005):

What is interesting to me can be seen in this image and in the opening images of EXCAVATIONS. In these images one can find early threads to much later bodies of work that evolved many years later in PARTICLE POOL (1994 to 2001) and LEELA (2005-). This particular image was made in 1977 at a stage where I understood little about the cameras multiple muscles and had not yet explored any serious photographers work. Which brings up an observation of an ongoing debate in artistic circles, is it better to go it alone and work without respect to the past (study art history) or risk recreating the wheel. 

What would the above later bodies of work look like, would they have come sooner, would they be more or less effective had the artist not begun his investigation of art history? Without a study of art history would they even exist? 

Here a question is posed rather than an answer given. Art provides no answers but poses many questions, particularly of the unseen (meditate through the layered veils of Cezanne or feel God in Van Gogh). When your ego comes back in control and tells you it sees paint, you must let go again.

Art for me thrives in small dark overlooked corners where discoveries seem fleeting and are hard won but nothing is ever finished or cornered, authentic journeys are necessary but not necessarily seen, and things out of reach always call and flicker in a darkness one can never fully illuminate. If one could we would lay, rest and have lost all curiosity.

 

When my eyes opened magic & fear or photo 101