GANESHA

Ganesha, or The Elephant Tree, 2011

I am finding that the essence of my work incorporates the notion that I must work, work, and work some more on almost all of my images. I think that my workflow is similar to that of painters. When I photograph I have a general idea of the  type of image that I am seeking to capture with my camera. Sometimes I have a very clear notion of what I am seeking, and other times I have more of a general idea. Either way, I still must incorporate my technical knowledge and skills so that I may capture an image that is close to what I see or visualize.

In post production work on the computer, I do my initial work and screening. Usually I need to sit with an image for awhile. I often work some more on the image, and leave and return to it several times before I feel that I actually have what I am seeking. This is where the aspects of interpretation continue the strongest. It is here that I decide how I feel the mood of the piece needs to reveal itself. It is in post production that I can decide to create a black and white or monochromatic interpretation, and it is here where I feel that art meets craft.

I think that many of my images emit their own sense of presence. I think that they become an interpretation that is not so easily defined, and that they convey a sense of mystery. I will say that not every one of my images do that, but more and more I am finding that if I step aside, and allow the image to reveal itself that something else does indeed happen.

Jubilación

Misty Morning Magic, Arcata 2011

Today marks the fourth anniversary of my retirement (jubilación). For the past several days I pondered the ramifications of my retirement. I am sharing some of my thoughts and insights on the subject here. 

It is almost impossible to anticipate what retirement will feel like until one lives in that state for awhile. I started my first year out by taking a trip to South Korea and to Ladakh. I wanted to visit both places for different reasons, and my experiences confirmed that reasoning. I followed that trip up with a visit to the east coast and to a family reunion. Since then my travels have been more localized. 


The reason I bring this up at all is that I discovered that it took me awhile to actually "find my groove" in establishing my lifestyle. It took me a couple of years, and several "dry holes" before my exploration into a life style fully manifested itself to me. I now know that my lifestyle is that of the Fine Art Photographer. What is significant is that I now have a definition of myself that I never was able to acquire prior to retirement. 

I wanted for years to become what I now am. I did not have the resolve nor the means to accomplish that until recently. I had other obligations that I rightly felt compelled to fulfill. I knew for years that I likely would need to wait until these "senior" years to make my run at fulfilling my calling.


So now I find that I am the most content that I have ever been. I am content with my lifestyle, but mostly I am content with the fact that I am actualizing my talents. I spent most of my life practicing the various aspects of living. I practiced being a husband, father, employee, friend, and etc. I practiced being a photographer, videographer, brewer, model railroader, gardener and may other avocations. I tried enough of those things to realize that I had one primary talent, and that I could only focus on the one if I were to have a chance of becoming the very best at something. I chose photography.


I sometimes rue the fact that I could have stayed on my job, and that I would be much more fiscally secure than I am now. I took a calculated risk that I would find a lifestyle that offered up the maximum fulfillment possible. I realize that living a "typical" retiree's lifestyle was not something that I would miss. I do not need to go on cruises, nor do I need to take expensive trips. I just need to avail myself the freedom to practice my art. I all ready live in an area that is overflowing with artistic possibilities, and all I have to do is step out the door to be engulfed with opportunity.

WORK, AND WORK

DANCING TREES OF THE NIGHT, STONE LAGOON, 2010

I think it is one thing to have some talent, and it is another thing when it comes to using that talent. I think of the Olympic athletes, and how they almost always express that their success comes from hard work. Their coaches play a vital role along with their talents, but it seems to me that without hard work, their success would be lessened.

I showed an earlier version of this image at the Redwood Camera Club's regular meeting last week. That image had some issues in that it was blurry in the trees branches. I think the blurriness came about due to the fact that this image was shot in nearly dark conditions at ISO 12,800 and was hand-held.

Hal Work, a club member and Photoshop expert, offered to show me how the blurriness could be corrected in Photoshop. We worked together on the digital negative yesterday, and Hal was able to make some changes that I think really helped the image.

I think what I am attempting to share here is that for one to succeed in photography today that the photographer needs to constantly work on understanding more and more about all the aspects of photography. I feel too, that the photographer needs to work at it constantly.

That is how I am treating my photography. I attend meetings, I share knowledge with others, I watch how-to videos, and I spend lots of time applying what I see and hear.

My thanks goes out to Hal Work, and to me for all the fine work.

DANCING TREES OF THE NIGHT BEFORE MASKING AND SELECTIVE NOISE REDUCTIONS

ALL THINGS ARE TRANSITORY. PERMENANCE IS AN ILLUSION

2008 - THUPTEN AND LHAMO'S HOME IN LADAKH PRIOR TO THE FLOOD

THE VIEW FROM THE ROOFTOP

LHAMO'S KITCHEN

Once upon a recent time (2008) I was gifted with the experience of a lifetime. I spent three weeks with these folks. I was an honored guest in their home. I was treated as family, and I came to love them dearly. I posted before about how they lost everything but their lives to a flood in 2010.

I am again offering some prints of Ladakh for sale as a fund raiser for their new home. I will give Thupten the proceeds from the sales of my Ladakh Meditation series of prints. I am including a link click here to a post I made in 2010 about their tragic loss. 

BREAKING THE "HORIZON AT THE MIDDLE" OF THE PHOTOGRAPH RULES

Mad River Slough at Ma-le'l Dunes Area

There was a lot of discussion at today's camera club meeting about how it is generally unacceptable to have the horizon line of an image at the center of the composition. This image pretty well is flying in the face of that rule, and  I think I can get away with it.

I suppose that most rules of composition are there for valid reasons, but I assert that once an artist understands those rules, that they have a license to explore variants on the rule. I think because the foreground elements of this image lead the eye toward the horizon that the horizon becomes the subject. I think too, that in this image the subject is made up of elements of the brown fields, the water, the hills, and the sky. I think all of these elements make for a strong composition.

A DETAIL OF THE STEAM DONKEY AT SCOTIA

PART OF THE STEAM DONKEY AT SCOTIA

I took this photograph while I was photographing PL Number 8 at Scotia in November. I did not tone this image. I have been giving my black and white prints a slight toning, and I mostly like it. However, a lot can be said for straight black and white.

LADAKH MEDITATION SERIES

THE BUDDHA'S FEET, THIKSEY GOMPA, LADAKH, 2008

This is another image that I took while I was staying at Thiksey Monastery in Ladakh. The time that I stayed there became a meditation. It did not matter if I was walking about, sitting in a temple or gazing at the scenic Himalayan mountains, I was always in a state of prayerful receptivity. I was on my own as Thupten was at his home, and I was pretty much the only English speaking non-resident on the grounds. Therefore, there were few distractions. I was just there.

I became aware of everything. My senses were keen, and my peace, joy, gratitude and composure were all as one aspect of my consciousness.

HOWDY!!

CALUMET SAYS HOWDY, Las Vegas, New Mexico, 2010

I just really like this photograph. I spent some time on it this morning, tightning the compostition, and adjusting the contrast. I printed this one a year or so back on the matte paper. I am considering printing this again on the wonderful semi-gloss paper I have been using lately.

Many of the  works I have been sharing here are ones that I intend to show at the C Street Hall Gallery. The exhibit opens for Arts Alive on February 4th. I will include images of Ladakh as well as some of my more recent works. I am reprinting many of the Ladakh Meditation series, and I am very pleased with the outcome. The photograph that I posted two days ago looks downright stunning on the new paper.

TENZIN ANGMO AND HER GRANDMOTHER

Tenzin Angmo and Her Grandmother in Thiksey, Ladakh, 2008

This photograph was one that I took after spending some time in grandma's house. Tenzin was wearing her favorite hat. The hat came from Arcata, and she wore it everywhere.

I spoke with her father, Thupten, today. Tenzin received the jacket and boots that we sent to her. Thupten said that there is much snow this year in Ladakh. That is good because the glaciers have been shrinking at a very alarming rate. Almost all the water in Ladakh comes from glacier melt, and once they are gone...

DOOR, THIKSEY MONESTARY, LADAKH

THE DOOR TO ONE OF THE TEMPLES AT THIKSEY MONASTERY, LADAKH 2008 

One of the recurring themes I worked on while I was in Ladakh were of doorways. I was especially drawn to the Kata Shawls that were on many,  but not this particular door. I just now reprinted this image. The original was printed in 2008. Back then I was using Photoshop Elements. At the time, my digital darkroom skills were in their early development stages. The differences between the two prints are subtle, but as I recently read, "every element of a photograph matters (http://www.luminous-landscape.com/understanding-series/everything_matters__it_is_all_about_the_small_details.shtml)". I like the new interpretation much better.

TATA

TATA is a brand name for vehicles made in India.

I took this photograph on July 12, 2008 while en-route to Alchi Monastery. I think that many of the trucks that I saw in Ladakh are marvelous examples of pride and celebration.

MISTER FROG ON THE WINDOW

This little guy was clinging to the glass on our front door last night. The light came from the porch light off to the side. This little guy was a nice visitor on a rainy evening.