I am one of those people that has a great deal of difficulty
coloring outside the lines. Things are very specific to me and lines are boundaries
to be respected. The problem is that I greatly admire those that can and do
color outside the lines.
I know some people do not need to color outside the lines
and that is fine. I just need something more than the box that life put me into
and this is my way of finding that something.
Many years ago I owned a book on modern art that explained that modern art was the result of destroying and reconstructing. I found that
concept very interesting. Actual to a degree I found it liberating because it
gave me an acceptable justification for expressing my deep desires to color
outside the lines which I greatly needed.
It took a very long time and even now I have difficulties.
However, I have discovered digital software that will assist me and I have
taken advantage of that software for some sixteen years.
The first program was Photo Draw 2000 which I believe was
published by Microsoft. I started with pretty simple abstract images, what I
would now call color field work. It
became a matter not of controlling but possibly guiding the process. I had lots
of successes and even more failures. Then I tried my hand at including the
human image and life got even better. I put together two portfolios that I
really liked; Friends, Romans and Fellow Countrymen and Into That Locus of the
Last Lost Souls. Both portfolios included abstracted images of people combined with
At the time I was using Photo Draw 2000 I wasn’t sharing my
work with but one person other than Janet, Robbie Britt, a creative writing instructor
at Tarrant Community College in Fort Worth. Robbie was very encouraging but I
thought the work was too personal to share with others. They both came from a
very difficult time in my life. Finally this past year I shared eight of the
images from Lost Souls with the curator of the Katy Contemporary Art Museum.
Anna blew me away with her comments. We both agreed that the images were not
salable because I had started with photographs that were not mine but she was
very encouraging to begin again with my own photographs.
I doubt that I will do
that because I hope never to return to that dark place that had inspired the
I have continued to upgrade the software to programs like
Nik and Topaz and tried several others that I have dropped along the way. Each
new upgrade has given me new approaches. The farther I go the more I enjoy
coloring outside the lines.
I still do straight photography, but more and more I am
seeing photographs as simply starting points and trying to discover new
direction for my images. I do not make records of the steps; I simply keep
working and being inspired by the possibility of the next step. I still lead
the process and often I abort and start over or even abandon an image as not
going where I need it to go. I may do several images of a photograph before I feel that it is what I want. And even then I may come back to it days or weeks later because I feel there is more that could be done.
I have recently posted to Facebook some of my images of
fireworks. The manipulated images have much more excitement than the straight
photographs from which they were made. I just ordered 25 16x20 prints of mostly
manipulated images to hang in the studio for the next open house.
The attached photo was taken of a life sized crucifix in a
Catholic Cemetery in Galveston. I have photographed the crucifix on a number of
occasions and have done dozens of manipulated images from the photographs. This
one was mostly done in Topaz Studio using a new technique of layering and using
masking to more accurately control the image. Not really a new technique, just
one that I had not been using with my manipulations. Every step gives me a
completely different image, a different feel to the image. The goal of all is
to depict the suffering of Christ. They just all do it differently.
simply very, very good when I can color outside the lines.
Debi Beauregard, took this photograph of, well, is it a cross or is it a
crucifix? Doesn’t matter.
I am always
thrilled when my photography finds inspiration outside of photography. Then I
know I am not mimicking the work of others. Call it cross pollination. Call it
inspiration. Everwhat. This piece of art is truly as inspiring as it is
beautiful; not that I wish to try to duplicate it photographically but that I
wish to be able to absorb it’s context because that is what I feel is so
important to do with personal photography. It is what is important to do with
There are a
number of churches in Houston that attempt to tie art in with their spiritual
message. This photograph was taken at one such church, Ecclesia Houston,
located on Elder Street across from the old Jeff Davis Hospital. I became aware
of Ecclesia several years ago when they were located on Taft Street in the
Montrose area. At that time their sanctuary was connected to an art
gallery/coffee shop. Janet and I would frequently go over to see what was new
and enjoy a coffee. Since they moved to Elder it does not appear that there is
a gallery so I have not been in even though I have photographed around the
church a number of times.
In my five
tenants of photography that I penned back around 2002 is one that I often have
difficulty explaining: “the subject of the photograph is not the object shown
in the photograph”. What I mean by that is that the subject matter is like the
technique used in executing the photograph—it is a “means”, that is used to
achieve the meaning, the “end”, which is conveyed in the photograph. I have
used dead fish to talk about our last gasp of breath in this life; parking area
lighting to talk about totems; minutia from my garage to talk about the pivotal
moments we experience that changes life irrevocably.
You can call
it context, meaning, story. I think of it as metaphor. This object of art is
full of metaphor—the kind of metaphor that I want to achieve in my photography.
tell you what the artist wants me to understand or feel from this object. I can
only tell you what I ‘get’ from the piece.
Baptist, a protestant, my church dogma replaces the crucifix with the cross. I
have heard varying explanations for that but in truth, I think it has more to
do with a rejection of or setting apart from Catholicism than anything else,
and that is okay. When I do photographs about my faith I do turn to the
crucifix because I want to examine the suffering of Christ on the cross for my
sins. I do not get that same human connection from the cross alone.
piece, Christ and the cross have become one. Eli Siegel’s Aesthetic Realism
explains that “Beauty is the making one of opposites” Here we have animate and inanimate,
the living Christ and lifeless wood becoming one.
going too deeply into the subject, what is the artist saying? Is it about Christ
becoming the cross, the cross taking on the meaning of the crucifixion—more in
line with the Protestant point of view? Is it about Christ reaching out from
the cross to the believers or welcoming the non-believers? There does not
appear to be any scars from the nails in the hands so this is a plausible reading.
Truthfully, I can read it either way. Conversely it could be about the living Christ
being forced into the inanimate cross by the act of the crucifixion.
To me it
doesn’t matter. It is a thought provoking piece of art. It has context that
goes well beyond the object or objects used in its creation. It goes well
beyond simply the acceptance of or creation of an object of beauty. As such, it
speaks about what I wish to achieve with my photography.
Thank you Debi for sharing. And thanks to the
artist unknown for creating this phenomenal piece of art.
Shot at the Museum of Natural Science Pixel Party last Saturday evening. The shoot was the exhibit on Sherlock Holmes which offered the opportunity for a number of table top set ups. Possibly would have done better using a tripod but maneuvering a tripod with the walker was more than I wanted to tackle. Here are a few examples of what I got...
There is much I would like to write. I have been doing
photography once again. It started rough but the last couple of shoots have
been encouraging. The biggest events have been the two Portfolio Reviews, one
at NWHPC and one with the Katy group.
I showed, Observations
and Reflections, photos from a shoot at Via Colori last year. I had planned
on doing Small Manifestations, photographs
I have taken in the last year or two in cemeteries. I am fascinated with the
artifacts left behind at grave sites. But in the process of getting the images
together I saw something I had overlooked in the Via Colori folder. I realized
that I had taken a lot of images where I included an artist drawing a human
face or figure. It was a cold rainy day and all were wearing hoodies, mostly
black. In all the images the artist was very secondary to the drawn image and
the image seem more alive and seemed to be observing the artist or the
spectators viewing the artist working. I immediately knew that was going to be
my portfolio. I am pleased because it got very good reviews.
I planned on using the same portfolio at Katy. However, I
knew one of the reviewers at NWHPC would also be there so I was looking for a
different portfolio for him to review. This is where it gets a little tricky.
Over ten years ago I was doing a lot of photo manipulation
using different software, different approaches and techniques. Well, I have a
portfolio that I titled The Locus of the
Last Lost Souls. It was a very dark time in my life and I was having
horrific nightmares almost nightly. I love my nightmares. I find them fascinating. Many times after waking from a nightmare I
would lie there partially awake, partially asleep, for what seemed like hours
going over the details and attempting to rewrite it to a more favorable
conclusion. I seldom have nightmares anymore. Scarcely can even remember if I
The Locus was
basically about my nightmares. I would layer images, using only the parts of
each that I wanted. I would then manipulate the images, the colors, whatever I
felt was needed then I would draw over the images freehand with a mouse. The
lack of precision gave the images a very crude appearance. Some came out very
good, some not so good. In all there were about thirty images. Of that I only
have eight left and those only because I printed them out. The rest of the
series is gone. The software would only write very small files and almost all
of the images I used were scarfed from the Internet because I was not able to
go out and shoot what was needed. Some, because I needed nudes, came from porn
sites. I had written a few lines to go with each of the images. This was a time
when I was doing a lot of very personal writing—examine my life, my fears, the
world. I wrote short stories that were fictionalized from my life experiences—not
stuff to be showing anybody, but just getting it down on paper because when it
is on paper I seem to understand it better.
I shared a few of the images with a friend I met on the
Internet who was teaching creative writing at Tarrant County College. Robbie
was always encouraging but the images were very private so I had not shown the
images again until the last few days when I was thinking about using them at
Katy. Everyone seemed to like them and seemed to be able to overlook the fact
that they were a little perverted.
In looking back I did frame them and hung them at the studio
for one of the open house events. They didn’t get any comments. I felt safe
there because studios are a little weird anyway.
Anyway, I took them, but I also took Via Colori—I used Via
Colori except for the one reviewer, Rudy Hernandez. My last reviewer was the
director of the museum at Katy. Anna always intimidates me so I am greatly
surprised that I had the nerve to pull them out and ask her opinion.
She read through my statement several times then asked me to
spread the photographs out on the floor. I did. She walked back and forth
viewing the photographs and then sit down on the floor and carefully read and
studied the images. She asked lots of questions and we discussed how the images
being procured from the Internet prevented them from hanging in a show or being
sold. I understood that and was fine with it because neither was my intention.
Then she said something that thank goodness I was in a public place, otherwise I
would have broken down. She said, “ I’m surprised I didn’t know this. You are
not a photographer. You are a poet.” She encouraged me to start again with my
own images. Wow. If I never ever get another review I am happy.
I am not likely to redo The
Locus because my life has changed. I am not sure I can make contact with
that darkness again and I will have to find something else to do. Thank you
The world has moved in strange directions lately. Little photography accomplished, a planned trip to photograph the plantation homes along the Cane River in Louisiana got canceled. But life is good, actually much better but that is a another very long story. Tomorrow night is Northwest Houston Photo Clubs annual Portfolio Review. Participating members will have their portfolios reviewed by members of the professional photographic community. It is always a great learning experience. What follows is my artist statement and photos being submitted this year.
Observation and Reflection
been involved in photography for over half a century. When I was first exposed
to the idea that photographs had the ability to reveal my subconscious, I
almost gave it up. For a very long time I resorted to what I believe a lot of
photographers do when they become aware that they are showing themselves in their photographs, hiding in safe zones of technique and mimicry. That held
little enjoyment so I decided to do photography my way because frankly few
would understand that the photographs were about me and not the subject matter. Art creates
an interaction between the artist and the subject matter as well as between the
viewer and the created artwork. These photographs, taken during Houston’s Via
Color, suggest a third type of interaction, that between the subject matter of
the artwork—in this case, an inanimate, emotionally devoid figure drawn in
chalk on course concrete—with the artist, the viewer or an adjacent work. In
these photographs, the subject matter, the inanimate figures, are more alive
than either the artist or the photographer observing the artist working. They become
metaphorically a mirror reflecting back my observations of my world at that
point in time.
Jeeze I wish someone would develop a blog site that would work for photos. This is a real struggle and one of the images is not here. Anyway...
I am a firm believer in letting the subconscious do it's thing within your photography. Yes I know that is a throwback to the Seventies but that's okay. The vast majority of my photography that I enjoy comes from that viewpoint. This portfolio was not planned. I simply examined the photographs that I had taken that day and 'discovered' a theme that at the time of the shoot I was not aware I was in anyway consciously perusing. I almost always take such a discovery as being of some importance. You might think of that as the opposite of previsualization. I don't see it that way. I see it more as letting something not totally under my control influence the photographs that I take. It is not random shooting; the shots were planned, seen at the time but I was not aware of how I was seeing the resulting images until after the fact. I was not aware that I was taking so many photograph in such a similar way. I take that as being of some importance to me even if I may not at the present fully understand what that importance is.
I processed the images to put the emphasis on the inanimate figures, downplaying the artist. The day was cold and many of the artists were wearing dark hoodies or coats. That made it very easy to place the emphasis on the figures. As many photographers have written, including the revered Ancel Adams, every photograph is about the photographer as well as te subject matter. That is what I see happening with these images.
Alcy had a couple of days off so we went to Galveston and stayed in the Tremount House.
As everyone knows the sun set behind the Island so sunsets are difficult to shoot. We generally go across to Bolivar but decided to shoot away from the sunset and I am pleased with some of the photographs. And of course we did the ferry a couple of times.
Being at the Tremont allowed us to do an early morning walk along The Strand before it got too active.
A couple I did today using Topaz Glow, Adjust, Clarity, Impressions...
This is mostly Glow and then inverted. Don't know if Briana ever gets on the blog or not but if she does I have a number of photos from this shoot at Rod Flemming I would like to share.
This is the full enchilada; Glow, Adjust, Clarity and Impressions. I think of it as the black tulips shaking off all their color. Unfortunately because the new Glow 2 is so darn slow I did both of these on low resolution images so I won't be able to print them.
Received a new book today, Rick Sammon’s Creative Visualization for Photographers. No,
I haven’t read it yet but in browsing I have found a few things that to me are
First, I have recently been considering the thought that
photography is presently in a period somewhat similar to the period of time
when the f/64 School came to dominate Pictorialism which actually died early in the second decade of the Twentieth Century but amateurs continued the practice until well into the 1940’s. Actually we have been in this new phase
for a while, everywhere except in much of amateur photography.A similar time frame may not
be required for the current changes. However, it just might.
I am not sure which I find the silliest, the Rule of Thirds
or SOOC but they both have their diehard enthusiasts.
Sammons at one point, I can’t find it again to do a direct
quote, briefly suggests that reality in photography is dead—well, what so many photographers
think of as reality (it’s actually verisimilitude, an illusion of reality). He
tells a story that was relayed to him by an assistant of Ancel Adams (a member
of the original f/64 Group). Apparently Ancel received a letter from one of his
fans that had recently visited Yosemite. The fan wrote that he owned all of
Ancel's books and was very enamored with the photography. However, on visiting
Yosemite he had become very disappointed—to quote—“…the park doesn’t look that way”.
Of course, it doesn’t. Being a member of f/64 did not stop Adams from applying
the creative processes to his photography. So as much as many would like to
think of f/64 as SOOC, it was a long, long way from it. I own two Ancel Adams
prints—they are dark and moody, just like a Woodard.
There is also a
photograph Sammons took of an African lion approaching through a field of tall
grass. The original image placed the lion on the Rule of Thirds—the ‘corrected,
enhanced, final’ version is cropped to place the lion DEAD CENTER. Oh my, oh my
the sky if falling, the sky is falling—a photograph so perfectly composed
ruined by moving the subject matter dead center. If we were not approaching the
end times already that is sure to cinch it. We must all crawl under the bed.
As most know I often take on flower photographs. Poor Alcy
has to put up with my anti-flower photography tirades constantly because Alcy
is and considers herself to be primarily a flower photographer.
I frequently use flower photography to illustrate what I believe
is a big problem with much of amateur photography. I use flower photography as an
illustration because everyone enjoys flowers, photographs flowers and can
therefore relate to talking about photographs of flowers. It may be the closest
thing to a universal them as can be found.
True flowers are naturally beautiful, they even sometimes smell
good. But they do something that I find to be detrimental to the art of photography.
They beguile the photographer. Nothing, short of a baby, can affect the mental
capacity of a photographer as much as a flower (thank goodness there are not
nearly as many babies around as there are flowers or photography as an art form
would be totally doomed.
In my not so humble estimation a photographer has to be able
to see a photograph, not a subject matter, but a photograph—there is vast
difference between the two. It is almost impossible for flower photographers to
get past the subject matter.
Now, I will admit that often Alcy gets a pretty decent
photograph of a flower. However, as much
as she claims to want to do good flower photography, what she really wants to
do is to document something she finds fascinating and quite beautiful—a flower.
There is absolutely nothing wrong with that. It may even be laudable,
enriching, life enhancing. But it flies in the face of her statement about photography.
When it comes to Alcy photographing flowers, I have determined that the
photograph will always be secondary to the flower and there ain’t nothin’ I can
do about that.
How can I tell? It is much easier than you might surmise—just
look at the area in the photograph surrounding the flower. I often say that
when I look at a painting I want to see the bush or knife strokes because that
is where I see the artist. In flower photography I don’t look at the flower; I look
at what surrounds the flower and how the flower fits within the frame because
that tells me whether the photographer is thinking about the flower or the photograph.
I do not care about the flower; I care about the photograph.
I say that then I also have to say that I am the
photographer that for two years in a row, and actually started a third year but
didn’t finish—I spent six months of both years documenting the life cycle of a
Magnolia blossom. The life cycle begins in April long before the bloom appears
and continues into October long after it has faded. The blossom itself will
only last for less than a day to maybe two or three days but that is only a
single step in the process. I still have one photograph that comes at the end
of the cycle which I have yet to accomplish. Hope is fading that I ever will
since my neighbor cut down the Magnolia tree that did over hang my property.
The reason I do into this again is that last night at the
camera club competition I came home with two first place ribbons. One was for
something I dearly love—a street shot of people (I am not really sure that I
consider a photograph that does not contain the image of one or more people--or something that looks like a person--to
actually be of any value as a photograph). The other was for a photograph of a
vase of dying flowers.
So, I am not opposed to flower photography—I am opposed to
the general approach to flower photography. I am opposed to the general
approach of much of amateur photography. Amateurs should be the freest the most
adventuresome of all photographers but in many ways they paint themselves into
a tenny tiny little corner and I find that very sad. Being a member of a camera
club exacerbates the problem and you will forever after be fighting to get out
of the bag. I know from personal experience, I’m still fighting.
Slowly Ending—after Alcy finishes with flowers I get to
shoot. Actually that is okay because the are more interesting to me as they
fade away. I do a lot of flower photography and this is one of my favorites.
The Critic—yeah, I stole the title from Weegee but I think
it is appropriate. The most surprising thing about this photograph is that I
took it. Street portraiture is easy for me. I have no problem sticking a 200mm
lens in someone’s face from four feet away—I love it and I think I get some
pretty good photographs. But this is imposing in someone’s personal life—that I
find much more difficult. However, I think this photograph has more power and
is much more ‘valuable’ than the street portraits that I do.
I did something today that I almost never do any more--did a brief photoshoot by myself. I was helping Paula Powers deliver her images to the VAA juried exhibit and when I finished I was in the vicinity of Glenwood Cemetery. When I had passed earlier the light was interesting as there had been a recent rain and there were still clouds. By the time I got there the clouds had moved on and the light wasn't as interesting but still I wanted to give it a try. Instead of stopping on the west side near the Hill and Dunavant angels I decided to drive over to the east side of the cemetery and I am pleased that I did. The angels are not as impressive but I think I got some worthwhile shots. After all I have been photographing the Hill and Dunavant for what, ten years? It's about time that I tried something different.