Tuesday, June 7, 2016

More from the "Sunstone" series


 A monotype is a unique print.  "Mono"= one. Rather than   multiple  images being created from a single plate. A thin metal, glass or Plexiglas plate is painted on with either ink or paint, and then damp paper is carefully positioned on top. Together , these are pressed by the printing press and an embossed, often surprising and vivid print results. Usually i continue to work on the image with pastel, but here is one that was left just as is -fresh and un-worked over. 

Monday, January 25, 2016

Monday, January 11, 2016

With the crew from "The Great Big Story"

Dominique Turner, and the others from "The Great Big Story" payed a visit on Saturday. Gillian and Andrea added to the great energy, while they expertly crafted sheir news story.
I did a little light painting that night- here are the results


Above, Facing the Camera, Dominique Turner and Lightbulbs 1  2016

Thursday, January 7, 2016

The Great Big Story

Oh 2016 sure has been full of good news .
Going to have a film crew here from "The Great Big Story"  website Hope I can keep up with the fast pace though.

Monday, January 4, 2016

Whats going on

An update, a good time to do so, the optimisim of early january fresh and promising.
First, the Seeing With Photography Collective will be  part of an exhibition in Canada soon, at the  Human Rights Museum of Winnipeg Manitoba. Details when they are known...

An acquaintance of mine, a writer, Tyler Gore, invited me to showcase my light paintings. Tylers become the editor of "Literal Latte  A  Journal of Poetry  Prose and Art"
I;m honored. Please tvisit Literal Latte with the link.

There's also a possibility of another exhibition opprotunity for me, this time in Sweden. When i know more I"ll post the info here.

Showing you today... this pinhole image from 2002.
A pinhole photo is made using a tiny pinprick as the lens. Glass-less optics.

Title is..".Pinhole- Central Park, 2002".

I don't mind the softness at all. These sorts of pinhole images remind me of early 1900's Pictoralist images. There were lots of people walking around during the long exposure of a minute or so, you might see swirls of color or vauge person- like shapes. Forget HD. My friend was  making pinholes with me- another visually impaired photographer- and when he saw the results of our day's work,  expressed both dissapointment and doubt, saying they were inferior. They just looked...familiar... like how his Macular Degeneration made his own sight very duffused.He looked up at me skeptically  after peering hard at the soft series. 'Are you serious, you really like these?" he murmered. I did.

2016 has started with a fresh breeze. Best wishes to all for a great year .

Sunday, September 6, 2015

"B Word" in Three Parts

Awhile ago Nori Mizukami asked me to write about how I feel about blindness. Here is my response...

Saturday, August 8, 2015

The View From Here Part 4 "Local Cluster"

The View From Here Part 4

"Local Cluster"

"The View from Here”will be posted as a series. This post may contain material dealing with sensitive topics. Rate it "R", Please be advised.

Exploring these images with words is new, more like the touch tour I once had of a Picasso sculpture, feeling the very metal, and splayed substance of its cold bulk, exploring its subtle aspects.

The snapshots are the same, with many facets, casting hues diffracting, radiating, mirrored, constructed, disnantled. I've put them here, out of the trash can of obscurity, safe for awhile. Just a few.
Local Cluster

Its palm sized, a luminous, richly hued Instamatic square, a particularly luminous one, one that seems to have an elusive tempature, one thats typical, but fixes my thin gaze tenaciosuly... frozen window, frozen sun about to set.

A girl of thirteen stands at the center, halfway down a hill. My sister Stacy, sunstruck, faces us, striding uphill in a field of low, yellow grass driven into a carpet of rounded dimples - like little haystacks.

The photographer is further uphill than Stacy, so we see an expansive sloping landscape. The light is warm orange-hued, the way it turns near the horizon before finally signing off, and at that angle where all it touches casts a very long shadow.

Her thin arms are clasped as though warming herself, her head is tilted a little regarding the photographer, just a vauge, curious smile, she squnits against the glare, her weak "Lazy Eye" not apparent, I think. Her flared blue jeans make me smile. It's 1972. Each leg is a different variation of blue, navy and pale blue.

I know this field well, but here, its fresh again suffused in gentle peace,  suffused in drama too. Each round tuft casts a long shadow. Many hundreds of graphic dimples are seen getting blurrier and snmaller downhill with distance. Whoever took this image likely didin't gave much, if any, thought to this quaility. Seemingly unimportant, this dimpled grass folds me into it's steep slope.