A DIFFERENT VIEW

CONVERGING LINES AT THE LOST COAST BREWERY

I am seriously considering printing this image, but I am plagued with the indecision that comes from my thinking about what others will think of it. I keep working to shed myself of the need for approval from others, but I still have not shaken it all off.

I found out yesterday, that neither of my entries in the latest RAA show made it past the juror. This is the second show in a row where I did not have an accepted entry. I am bothered less by this than I was the last couple of times. I have been accepted enough times and have received enough awards  to realize that I am a competent artist, and I think I am making headway on accepting the outcomes of these juried shows.

Part of the whole issue for me is that I am competitive. There I said it! I own it. I embrace it. I release it. I think it is in some ways healthy to be competitive, but I now know that my competitive nature is no longer helpful in making me a better artist.

I am working hard on celebrating the success of other artists. I am working on understanding that my artistic expressions are relevant, sophisticated and successful as works of art. I accept too, that not everyone is going to see and feel the message that is conveyed in my prints. I accept that that is perfectly fine and dandy, and that the judgement of others is not a validation nor a rejection of my worth as an artist or as a person.

It is a two-way street. In the past when I won awards I would become all puffed up. I was elated, and riding on a cloud. Then along would come the down-side. I would not make a sell, or I would not make the cut from a juried show, and I would get the blues. It has become predictable for me. Get a prize, become elated, get rejected, and come down.

That is what I am releasing. I do not need the ups nor the downs. I do not have those extremes in any other aspect of my life, so why should I accept them when it comes to my creations?

This is the primary reason why I write this blog. I do it so that I may have some witnesses to my process. I am working hard to release myself from this egoic attachment that is tied to my self-worth. I want to be free of my need for you to like my photographs. They make me happy, and that should be sufficient. I still appreciate feedback. I value the critiques that we do at the camera club. That input is mostly helpful, especially when it comes to technical advise or observations.

Aesthetics - I trust my eye.

BACK TO THE MARSH

EVENING LIGHT AT THE MARSH

This is not something I normally would post here, but there was a reason why I took it - I liked what I saw. I am offering the fact that I do not always have landscape shots in mind, and that I sometimes am drawn to what may not be considered "statements". Perhaps this little bouquet just deserves to be seen by others as I see it.

THE ONE I FINALLY PRINTED

THIS IS THE VERSION I DECIDED TO PRINT

The print turned out to be 17"x 47". I printed it on matte paper, and it looks pretty darn good to me. You can see that I decided to remove the street lamp and pole (see yesterday's posting). I probably could have done a little bit better job of it, but I doubt that many folks would even know I did it unless they read this blog.  

I made another version where I removed the VA clinic van and building from the right edge of this image. I think it looks too contrived.

VERSION SANS THE BACKGROUND

I am not going to pretend that this is fine art. It is a documentary photograph. Even as such, this photograph likely does not meet the standards for historical imagery. Those are very rigid and exacting government standards, but to be able to make this image makes me happy.

IF FOR NO REASON OTHER THAN "I CAN"

THE EUREKA INN, APRIL 2012

I kept my promise, and did some work in Photoshop. This is a composite of four - make that five photographs. The main image is comprised of four images taken with the 17mm PC lens. I "shifted" the lens from right to left while leaving the camera locked in one position. Only the lens moved. In some ways this feature of this lens makes it a very good panorama lens. It does have limits, but I was able to photograph an entire city block without moving the camera. By-the-way, the fifth frame that I used was for the street light. Because it was located at the upper corner of the shot it was very distorted. I had to clone the lamp head from another photo that was taken with another lens.

THE LEFT-HAND IMAGE WITH THE DISTORTED LAMP

I realize that I could do a better job on the lamp, but who would have even noticed that something was not quite right aside from a utility worker. I also thought about cloning out the lamp and pole, but I have not yet felt that as a strong compulsion. As I mentioned yesterday, there was one automobile in the street in front of the inn. Fortunately, it was located just off the right edge of the photograph. 

EVENING IN EUREKA

BENCHES ON G STREET, EUREKA, APRIL 2012

I do not have much to say about this image other than I was compelled to take it. I do think there are some nice geometric elements to the composition. I took several other compositions of these subjects, but I think this best fulfills my vision.

I photographed The Eureka Inn tonight. There was only one vehicle in front of it, and I was able to work around it. I used the 17mm PC lens to "shift" my way through a panorama of the inn. I did that by rotating the lens 90 degrees in its holder so that the rise becomes the shift. That allowed me to start my series of three shots with the lens shifted all the way to the right edge of the subject. I took that shot, shifted the lens to its mid point, took the next shot, and shifted all the way to the left where I got the shot of the left third of the inn.

I will attempt to stitch the shots in Photoshop. I never had much luck stitching, but I suppose it is time for me to learn how to get it right. I will post the shots as I work them.

AN INTROSPECTIVE LOOK AT SELF*

*OR THE MANY FACES OF SELF

Last month I shared my first attempt at a self-portrait. I received some helpful advice on how it could have been more effective. So I decided to make another attempt at it, and here is one of the results.

I took a ten second exposure and my granddaughter held the strobing flashlight on my face. I attempted to show several different emotions and moods. I shared the print of this today at camera club, and it created quite a discussion - overall a positive critique.

THE MASONIC BUILDING IN EUREKA

VERN'S, EUREKA, 2012

I normally photograph buildings straight-on, but for some reason decided that this works in this instance. I used the 17mm PC lens even though it tends to distort and exaggerate the closer edges of buildings from this angle. I think because I was far enough away that this is not too strong of an affect. I really like the manner in which the colors of the photograph work together. I did spend considerable time working with the courthouse lawn on the left edge of the photograph.

THE EUREKA FEDERAL COURTHOUSE BUILDING

UNITED STATES POST OFFICE AND COURT HOUSE, EUREKA, 2012

I think all-in-all, that I got at least half a dozen keepers from my outing last week. I really appreciate the fact that the streets were wet, creating reflections of the sky in most of this series. This photograph does not include the same level of "guardians" as some of my other images unless one counts the newspaper racks out front and the solo raven. Perhaps one may read something into the fact that this building stands so clearly alone and solid.

This is another image that I spent a lot of time working on the fine details in Lightroom. I am becoming very comfortable with that program, and am appreciating more and more the improvements in localized controls that it features.

GUARDIAN METERS

MORNING AT THE AVALON

I do not have the intention of having parking meters in all my photographs. The idea of a conceptual art series/theme is not what I am after. That said, I do like this little sub-series of my Eureka theme. As I mentioned yesterday, I do not go looking for specific compositions. I usually have some building in mind when I start photographing. For months I started my mornings at or near the Lloyd Building, and then I would venture in ever widening circles as I explored the business district of town. I think I favor buildings like this one that have not been remodeled. There usually are things about the original architecture that draws my attention to a specific building.

I spent a lot of time on this image in post production processing in Lightroom. My process is not all that different from the days where I used photo oil paints on black and white prints. It is all in the details, and I find that to be my truth with my current process. 

SWEET DREAMS

SWEET DREAMS AT THE EUREKA THEATER

I sometimes think that I would like to own a boom truck. If I had one I would see if I could park out front of some of these buildings and lift myself up about thirty feet. I think I could get some really different perspectives. There are dozens of buildings that I would like to photograph from a higher vantage point, and this is one of them. Perhaps I will get on the roof of the RAA Gallery some bright morning to see how the theater looks from there.

I missed Arts Alive last night. I imagine it was a fun event. This was the first time in a long while that I did not have an art opening somewhere (I suppose I can call my little space in the basement of the Morris Graves Museum of Art an exhibit, and that last night was the opening). Anyhow, I think that the show at the Eureka may have been interesting and fun. It is encouraging to realize all the activity that is now happening on the six-hundred block of F Street.

MORE EUREKA MORNING MAGIC

SILENT SENTRIES

I am starting to see a pattern in my current vision. I was not thinking that I needed to continue finding compositions that include parking meters - it just happens that way. As I look at these images from Thursday morning, I am again realizing that when I get in the "groove" while photographing, that it just starts to flow. To paraphrase Minor White "something else enters into the process" - a third aspect that is created by the subject, and the photographer. As I photograph, my busy mind becomes quiet, and the camera becomes a window to a vision that eludes my normal vision.

I realize that this "extrasensory" element of my art making is capable of transcending time and space. What I mean is that as I work the image in my digital darkroom I come back into a sort of time warp that allows for the magic and mood of the time and place of the photograph to come back into my awareness. I sense too, that the developing process allows for further statements from the subject. It is as if the subject has more to say, and that it is my job to open up a line of communication that allows for that to happen.

MY NEWEST PRINT

AVALON, EUREKA, APRIL 5, 2012

I was not looking to photograph this scene yesterday. I was on my way to check out the lighting at the Carson Block Building when I saw the lighting here. I did a lot of post production work in this image, and I liked it enough that I was compelled to print it. The print looks very similar to this, and is IMHO rich and compelling.

I really appreciate the soft-proofing feature in Lightroom 4. It made my decision as to which paper to use.

I have some images on display downstairs in the Morris Graves Museum of Art. Please stop by and take a look during Arts Alive tomorrow, Saturday, April 7th.