At 6:30am the waves are swirling within a calm, as ships cross back and forth. The sand is firm, the tide is out. Lander, our Great Pyrenees, walks confidently in the water with waves crashing his side; the thunder steering our attention to the lightening sparking in nimbus cloud gradients.
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20 minutes before sunrise is exciting with darkness permitting freedoms with longer exposures than daylight. I concentrate on camera movement, painting with light.
Check It Out
With refreshing sets of limitless boundaries, I'm able to place 1' x 1' mirrors into the world. I drag along cliches of what and I choose to see are merely reflections of 'my' psychological constitutions.
Visually, the sharp lines of mirrors' edges juxtaposed against reflective abstractions grabs me. I'm reminded of Frank Gehry's architectural & design sensibilities. Too often I hunger for chaotic abstraction when deep within an obvious structure; conversely, exclusive abstraction easily looses my attentions through a lens.
I find humor and contentment wandering through the corners of the refelction of a reflection's reflection.
I took an interest in emulsion-paper based Pinhole photography before 2010 when I realized I wasn't experiencing a regular "Whoohoo" in the darkroom. Claude Smith (ceramicist) shared with me his "Whoohoo" moments, both with verbal and pictorial explanations. Following our conversation, I decided to dig deep and muster his enthusiasms. I found them.
Aside from requiring my Art Appreciation and Digital Arts students to create pinhole photographs, the last time I exercised any serious maturity for the Pinhole Photograph was through documenting WNMU's "Great Race" with a Pinhole camera I made from a cylindrical industrial detergent container capable of holding 16" x 20" paper.
I'm now in the digital age, using a protective cap with a pinhole in it. I now have instant gratification permitting immediate exposure compensations. Additionally, I can now move the camera in sweeping motions with a slow shutter speed, something I never considered using a cardboard box or old oatmeal containers for cameras.
20 minutes before sunrise is exciting with darkness permitting freedoms with longer exposures than daylight. I concentrate on camera movement, painting with light.
Check It Out