Field Notes-1 (2012)

Here are some recent images I am pleased with. Similar style images are found here in Field Notes-2. My thoughts at this time are to include some candid street type moments (which in artistic concerns are on a similar wave length as my largest body of work in incidents & intersections) into my current book which of course means I just signed up for a ton more work. 

 

The book currently involves work from 2005-2010. I am thinking I might be pulling from 2001 to present, not sure yet, but it has become a wide open project. 

I am thrilled to mention, I am going to release some control and get another set of eyes on my greater body of images to see if it can not be a little more holistic in scope of pictures used. I have chosen to work with Mike Davis for his excellent skills as an photo editor, graphic sensibilities and especially because his background is slightly different than mine. All the better to bring new things to the table. 

So I have made my ambitions for my book considerably larger. I am trusting the process and plan to take the revamped one with me to photolucida next April.

some background on my candid work:

Sans a few late 70s NYC street images, I guess some of the first of my street images were made in December of 2001 in NYC at the WTC site. Hopefully the best of those will surface on the blog eventually. To pay for a roof I did candid-journalist wedding photography from 1996-2008, which began to make me attracted to candid moments in general and this eventually got me working on that in my personal work.  I thoroughly enjoyed capturing the energy emotions and movement at those events, trying to move and flow in and out of situations was very challenging and fun. It reminded me of childhood little league and sports in general. The physicality, rhythm and timing needed to be developed were a joy to work on.

Now doing this kind of dance in public is entirely different,in public I am not given "cart blanch-right of way" as I had at weddings. It has taken me a few years to develop some techniques to get interesting images in the public world in a sea of moving people.

It is the same energy and unfolding and collapsing of events in real time that excites me. Finding ways to ebb and flow through an ever changing situation is a blast. It reminds me of younger days when I surfed, because in that sport one moves with and on the surface of a constantly changing form.

My small urban landscape thing is much more akin to snow skiing where the mountain does not move, I move and it stays the same.  Well in fact this analogy is bent. With every movement the photographer or skier makes what is seen or occluded changes quite a bit. On the street with people it is all motion at once, it is fantastic, moving water not frozen.

Strangely enough the rate of successful images seems about the same, even when one setting seems to me an easier situation. Which leads me to believe there are things going on beneath the surface of what I perceive. Taping into this flow no matter the work or approach is a lot of what I am about. As I said before after so many years photographing and living life I feel more like an instrument being played than someone playing an instrument.

Exhibition Review: Intersections: 20 yr. retrospective of photographs by George Elsasser (2of2)

The  following is:
Copyright (c) 2010, The Virginia-Pilot. Reprinted with permission.
The original article appeared in Port Folio Weekly December 7-14 issue, 1997.

From Stark To Lively, Photographer Captures Life
By Catherine Dorsey

Over the past 20 years, the work of photographer George Elsasser has made the progression from stark black and white photos to painterly Polaroids to brilliantly colored and dreamlike abstractions.  Each stage holds it’s own fascination: Elsasser’s multi-faceted talent is evident in a retrospective on view at the Hermitage Foundation Museum in Norfolk.

The earliest photos in black and white demonstrate the beginnings of Elsasser’s exploration of contrast and form over content, a journey which culminates in the artist’s most recent images called the Colorfield series.  The 1980 image Window isolates one section of a steamed-over glass pane.  A few water droplets course through the intricate pattern made by the steam, leaving their snail-trail on the heavily beaded surface.  The patterns in the corner of a stainless steel kitchen sink become the subject for Sink. The interesting curves and reflections of the slick steel, spangled with a textural coating of shimmering water droplets, are focal points while the object becomes secondary.

Elsasser’s images become more complex as they progress chronologically.  Objects arranged in odd and unexpected settings create a surreal atmosphere.  The trompe l’ oeil effect achieved in the 1992 image No Fish is uncanny.  A pot holder shaped like a fish, at first startling in it’s lifelike appearance, rests in the seat of a molded deck chair.  The simple composition sets a complex chain of thoughts in motion by altering our perceptions of reality.  While the photograph is a color image, the delicately tinted fish provides the only color against the stark white plastic chair.  The viewer tends to first perceive the photo as black and white, which it is not, and the fish as real, which it is not.

Three black and white portraits from the early 90’s are quite natural and have a frank quality that is refreshing.  A series of spontaneous manipulated Polaroids retain the surrealism found in several of Elsasser’s larger images.  In Apple, a bright red apple is blurred into wavy lines while it’s reflection in a stainless steel toaster remains crisp and clear.

Intense color and thoughtful composition are hallmarks of Elsasser’s new large-scale Colorfield photographs, which utilize focus rather than light as tools to shape the image to his mind’s eye.  A few sharply focused details emerge from the blurred and often incomprehensible organic subject matter.  The eye struggles to discern individual objects in these brilliant tapestries of color. Two withered stalks of grass and a pine cone stand in stark contrast to the soft green and brown wash of blurred greenery in Colorfield-56. The viewer becomes a voyeur in Colorfield-72.  A stockade-like row of slender tree trunks are in focus in the foreground, while the sunlit landscape beyond flirtatiously eludes the eye.  The golden vista tantalizes by remaining forever just out of reach.

Catherine Dorsey was in the art gallery business for 12 years. She is a native of Norfolk and has a degree in Art History from University of Richmond.

The Colorfield Series is now called Particle Pool. 


Different review of intersections
Information on Particle Pool

website galleries

02-21-14 (update)

These links lead to my current portfolios and information about them.  If you have any questions please feel free to send me an email.  

I am continuing to improve my new site hopefully making things much easier. I apologize for any inconveniences.  Thanks for visiting.

breakenterhuntgather
portfolio 
about

observing liberty
portfolio 
about 

Mammals at the beach
portfolio

about

In Step
portfolio 
about 


After 10 years of photographing weddings in a candid style I became interested in street photography. It seems to be a combination of some of my current landscape concerns along with trying to get me into a position that locates people in positions I find pleasing as they visually interact with the landscape.  working portfolio flickr

plane encounters
portfolio 
about

 

fencing flora
portfolio
about

Effigies  (2004-)
portfolio
about 

Photographer's Pencil  (drawings:1997-2000)  
portfolio 
about

Particle Pool  (1994-2001)
portfolio
about

Incidents & Intersections (1983-)
portfolio
about

Excavation  (1977-1983)
portfolio
about

arrivals & departures  2013-
working portfolio flickr
about

Leela  2005-
working portfolio at flickr
about

Current b&w  1994-   
working portfolio at flickr          
about




Still Remains  2005- 
working portfolio at flickr        
about

PAINTINGS  (1992-2000) 
portfolio - not shown at this time
about 


This group includes both mixed media, works on paper and paintings on canvas. They as the drawings, were made to aid in loosening and further informing my photographic work. At the time I begun these paintings I felt photography was not giving me the visceral or emotional impact I sought at the time. In addition I really felt a strong attraction to the surfaces of paintings and that language mostly is non existent in photographic prints. When I stand next to a painting (particularly modern ones) I often want to inspect them with my hands in addition to my eyes. Sculpture is almost irresistible in this regard but unfortunately I know better. I wanted a heavier hand so-to-speak with a more blatant emotional energy and wanted to shake my photographic history somewhat. These were the first paintings I had made while not pursuing a formal education other than some I had made during my childhood.