Revelation XLII

Revelation XLIV

Revelation XXV

Revelation XXIX

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Revelation XXVI

Revelation XXVIII

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Revelation XXXVIII

New images from my series Revelation are out!

Find more here.

View the ebook here.

Get the catalog here.

See related studies here.

Find out about the making of the exhibit here.

Hear my gallery talks on Facebook Live.

Antarctica CXCV

Antarctica CXCI

Antarctica CXC

Antarctica CXCII

Antarctica CXCIII

Antarctica CXCIV

Antarctica CXCVIII

Antarctica CXCVI

Antarctica CXCVII

During our 2016 DPD Antarctica Workshop we had beautiful weather – foggy mornings, sunny days, and calm waters. I’d been looking for clear reflections like these for years; it is the windiest continent. All of the eight voyages I’ve made to Antarctica have been defined by weather, which has never been the same twice.

View more images here.

Find out about my exhibit New Work 2016 here.

Preview my ebook Antarctica here.

Get a free ebook Antarctica Two Visions here.

Find out about our 2018 DPD Antarctica workshop here!

NZ_framed_1

Social networks can be wonderful ways of sharing events in our lives, with or without images. Most posts are seen, commented on, and shared more if they include an image.

Some posts are just images. And there are social networks just for images. This all creates an insatiable demand for images, specifically photographs. Now, over one trillion photographs are made every year. (For the past several years, each year more photographs are created in the current year than in all previous years combined.)

Usually when photographs are shared there is no indication of what kind of photograph it is. They’re all shared equally, almost as if they’re all equal and all made for the same reasons, which they’re not. Never mind that some photographs are of higher quality than others. Making this kind of value judgment is another matter entirely – and not the point here. The point here is that we make many different kinds of photographs for many different reasons. (We quickly disregard the imperfections in family snapshots, sometimes they feel more real and immediate because of them, favoring instead their accuracy and spontaneity. We evaluate and use formal portraits in entirely different ways.) How successful photographs are is determined by how well they do what we want them to do. There is no one set of criteria that can be applied equally to all photographs; instead we apply different criteria to different kinds of photographs.

They shouldn’t all be read the same. If we looked at all photographs as being the same, and if we looked at all photographs in the same ways, we’d make many inaccurate conclusions and miss many important points.

So it’s important to ask, “How do we want the photographs we share to be received?”

Can we make it easier by taking some of the guesswork out of it all and tell our viewers more about what we’re trying to say by telling them more about how we’re trying to say it? There aren’t standard conventions for this – yet. (And we need them.)

In an attempt to embrace the challenge of communicating what kinds of photographs I share, I’ve started using specific language to describe and ways of presenting different types of photographs differently.

Here’s my current solution.

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Documents are shared bare with no border.

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Studies made during the development of more resolved work are shared with a textured paper border.

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Fine art is shared with a matt and frame.    

It takes a little extra time to add these touches but I think it’s worth the effort. In the end, I feel I’m communicating more effectively. I also find making the distinction between these types of images personally useful. I become clearer about what I’m trying to do, often while I’m making photographs. I’m better able to assess how well I’ve done what I’m trying to do and don’t waste time and energy applying an inappropriate set of criteria; sometimes this affects both productivity and how I make photographs. And finally, because I ask these questions I find new ideas – and that may be the most rewarding part of this process.

How do you share images in social networks?

Follow me on Instagram.

Like me on Facebook.

Follow me on Twitter.

Circle me on Google+.

New Series – Incubation

January 16, 2014 | 1 Comment |

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 Incubation II, 2013

20121204__SAARGpumice-_0437-Edit Incubation I, 2013

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Incubation IX, 2013

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Incubation XIII, 2013

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Incubation III, 2013

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Incubation V, 2013

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Incubation IV, 2013

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Incubation VIII, 2013

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Incubation XI, 2013

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Incubation XII, 2013

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Incubation VI, 2013

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Incubation VII, 2013

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Incubation XIV, 2013

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Incubation X

My newest series of images Incubation uses a dynamic approach to representing both spaces and objects within those spaces, blending images of the same subject taken from multiple angles – panoramics, duplications, nestings, symmetries, tesselations, etc – that take on complex perceptual responses and psychological overtones.

Currently, all of the images are drawn from the same location made during two separate adventures (2012 and 2013) to the Atacama Desert in Argentina.

View more featured image collections here.

Search my online gallery for specific images here.

Sign up for my free enews Collectors Alert for announcements of new images, discounts, and more.

01_paulcaponigro 02_paulcaponigro 03_paulcaponigro 04_paulcaponigro 05_paulcaponigro 06_paulcaponigro 07_paulcaponigro 08_paulcaponigro 09_paulcaponigro 10_paulcaponigro 11_paulcaponigro 12_paulcaponigro Paul Caponigro, Inner Trilithon, Sunrise, Stonehenge, 1970, Gela

This is a selection of my picks of my father’s top 12 images.

This doesn’t reflect sales, publication, or web views.

It simply reflects my opinion.

It’s challenging to choose so few images – but it’s insightful.

Try it with your own images or artists’ work that influences you.

I had a marvelous time in Uyuni, Bolivia with Seth Resnick and Eric Meola after our recent Atacama desert adventure in Argentina.  (Find out about our Dec 6-14, 2013 Atacama workshop here.)

These three new images are the first of many. They’re quite similar to several continuing bodies of work – Reflection, Exhalation, and Refraction  – and they are also distinctly different. (Preview the Blurb books for each series here.) They are also related to another series currently in development that I’ll share soon. Which series are they a part of? Are they a part of many series?Are they a separate series?

Two previously released images are from the same location, but they don’t have the light effects. Are they a part of the same series?

Why don’t I just title the images with a place and date? Because these images are statements about internal truths rather than external facts.

(You can read more about How I Title My Images here.)

(Read my advice on How To Title Your Images here.)

It would be easy to say, “Use any title you want. You’re the artist!” While it’s harder to do, I think that titles work best when they honor the content of the work and communicate that effectively to others.

It takes time to work these things out. There will be more new images. And, my understanding of this work will grow. How long this process may continue is unknown. But I need to title these images – soon.

It’s Untitled for now. But, not for long.

What would you title these images?


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