ContactSheet_Greenland_2013_425

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In reviewing my Greenland 2013 Contact Sheet it’s become even clearer to me that once you get certain kinds of successful shots the bar is raised for your future efforts. There are many good images here. But are they as good or better than other similar images I have, both from Greenland and from Antarctica? If not, why use them? (How many images do I really need? When do the new images draw attention away from old images – for better or for worse?) The answer to this depends on how I plan to use them. Since I have fewer images from Greenland than Antarctica (I’ve only visited it twice while I’ve visited Antarctica six times.), if I were assembling a body of work on Greenland, many of these would make the cut. Since I’m not currently planning on doing this, they have to work within the context of an Arctic/Antarctic project. That project has been on my mind for many years and is still in development. This set isn’t enough to bring it to fruition. For now, I suspect I’ll put most of them on hold possibly using a few for composites.

View more Contact Sheets here.

Learn more in my digital photography and digital printing workshops.

AtacamaContactSheet1_425

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AtacamaContactSheet1_425

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In preparation for my return to Argentina’s Atacama Desert this coming December, I’ve been paring down my selects from my first trip last year. Within this set of images is a smaller set of images that suggests a way of seeing – animated sculptural forms making light and space visible and felt. (These words are not complete but they begin to describe what’s going on.) This is what I’m going to focus on and hope to discover more about when I return. With practice we can learn to come up with many ideas, but in the end I think it’s important to look/listen to the work you actually make and answer the calls within it, moving into them to pursue more depth and their connections to other things/ideas/emotions.

View more Contact Sheets here.

Find out more about my Atacama digital photography workshop here.

2013_Italy_Glasses425

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I enjoy seeing the flow of thought that becomes visible in contact sheets. One idea builds on (or diverges from) another. Some moves are repetitive; some moves introduce one or more significant variations. As I work, I ask questions like, “On what level does an image work?”, “What is a significant variation?”. “When do two or more images reinforce each other?”.

Will these images make the cut? It’s unlikely. But themes within them will resurface in future finished work. In fact they already have. These themes have been with me ever since I began photographing; they look very similar to two images I made for my first exhibit and are related to images in several existing series like Illumination, Refraction, and Resonance.

Even if these images and what I learned from making them bears no fruit, it was time well spent. I truly enjoyed the better part of an hour savoring and playing with light.

View more Contact Sheets here.

View finished images here.

2013_PointLobos_FirstCut_2013_425

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I had an intense session at Point Lobos, California recently. I was in an emotional state, reviewing the past, connecting ideas, letting some things go. That quality got into these images. Sure, I was working at understanding composition better, but I think it’s the emotional quality that makes these images strong. It was a great reminder of how important it is to be present (really truly present) when you’re making art.

Half these images won’t make the final cut. And I’ll want to return to this subject (if not location) to develop this set further. And yet, there are a few real keepers here, not just single images but also a whole new set of images.

Find out about my Point Lobos / Big Sur workshop here.

View more Contact Sheets here.

View finished images here.


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