AMERICAN WOMAN-- This is a photo of peeling paint on an American pickup truck. This image conveys, for me, a sense of resignation and sadness. The body language and countenance of the protagonist suggests depression. The drab lighting, faded colors, as well as the areas of decay, hint at past glory now diminished. It looks as though the dull blue hue of the invasive form hovering over the woman is all-pervasive and colors key aspects of her identity. This is not one of my more optimistic images, but I try go wherever an image happens to lead.
Cataclysm--
Stone tile in a Denver hotel lobby. I enjoy the sense that the sky seems to be raining dangerous (yet appealing) debris from the sky. I've had one viewer comment that the scene looks like a theatre and another that they enjoyed it even more as viewed upside-down (where it evokes an eruption).
Stone tile in a Denver hotel lobby. I enjoy the sense that the sky seems to be raining dangerous (yet appealing) debris from the sky. I've had one viewer comment that the scene looks like a theatre and another that they enjoyed it even more as viewed upside-down (where it evokes an eruption).
Cliff Fantasy--
Random patterns on an aging construction dumpster. I find that the vertical object on the left of the frame evokes a large item at great distance, while the even larger object taking up the other two-thirds of the frame seems paradoxically to make it look even bigger.
Random patterns on an aging construction dumpster. I find that the vertical object on the left of the frame evokes a large item at great distance, while the even larger object taking up the other two-thirds of the frame seems paradoxically to make it look even bigger.
DUNE-- Along with Cataclysm and Primordial Tile, this image was taken of a stone tile in the lobby of a Denver hotel. I had been at an event at the hotel some months back and had hoped to return for another session. I was happy to find this stone upon my return. I see nascent values in the stones when I look at them and often, though not always, those values actually transfer successfully to a photographic image.
PICKUP TRUCK SEASCAPE-- This image was the first subject I chose to photograph on a numbingly cold morning. The frost on my neighbor’s old pickup truck peeling paint caught my attention. In my mind, this scene conveys a seascape vista that matches how cold I was when I took the picture. Had it been warmer I would have put my camera, a large Fuji GFX100, on a big heavy metal tripod for the best possible sharpness, but I was just too cold to do it. Besides, I wasn't optimistic that the values of the scene would translate to a worthwhile image. Which goes to show that you just never know how an experiment is going to turn out.
The randomness of natural forces creates such beauty when we apply our human visual metaphors to this randomness.
I went back a couple mornings later and the light was all wrong and there was no frost. No image to be had other than a basis shot.
The randomness of natural forces creates such beauty when we apply our human visual metaphors to this randomness.
I went back a couple mornings later and the light was all wrong and there was no frost. No image to be had other than a basis shot.
PRIMORDIAL TILE-- This image was taken of stone tiles in the lobby of a Denver hotel. People are often suspicious of someone with a camera so I was prepared to engage with hotel personnel who might be extra suspicious of someone with a huge camera and heavy metal tripod. To my surprise, no one bothered me at all even though they could see me working. I even took a chance and raised the lights in a hallway so that I'd get better results! I'm imaging this photo cut up into perhaps five separate sections and displayed vertically with space between each segment so that it can pleasingly occupy a large tall space.
