A beautiful misty morning Near Mt Wilson recently.
I haven’t done many portraits recently but I took this photo of a friend (she’s a DJ) last night. I like the B&W version. A flash was used - bounced off a ceiling about 20ft high. The lighting combined with converstion provides a satisfying result.Just the right amount of contour.
Reflecting on my own work…in particular the abstract images I’ve been working on for the past months. I’ve been observing how the images have been forming. In particular, the relationship between the aspect of visual appeal and any meaning or symbolism that develops as layers are added. I’ve posted some thoughts already about when a piece of artwork can be considered as finished. From my own perspective as the artist, when I clearly ‘see’ or recognize some symbolism or idea that reflects back to me a message, or, the elements within the image show strong enough relationship to one another (in the case of an abstract), I then pay attention to other visual aspects in the same way as I might with a single photographic image. Things like tone, contrast, colour etc.
…my working title. I've given it a latin based name (massively pretentious and long?) because of its natural feel, some 'hidden' iconography and watery context. If you can come up with a better title, I'm listening! A particularly satisfying mix of organic elements. This is definitely one of my favourites especially as the print is almost identical to the screen version. Curiously, as I may have previously mentioned, some images refuse to print as expected for no obvious reason. Several of them contain a very similar colour palette this image.
I was given an opportunity today to speak at the Light & Shadow Gallery at Leura. The theme was Reflections on Fine Art Photography. More particularly, I was asked to describe how I arrive at the images which are multi layered from the current series Elemental Fantasy.
Len Metcalf, an excellent Blue Mountains photographer, specializing in sepia toned nature images (but also including nudes) gave his insights on his photographic processes. He spoke about his choice of square format for his images and his preference for warm tones. A fine example ihangs the wall behind me. Otherwise he gave his personal experience of how his own psychology plays an important part in his photographic life.
A big thank you goes to Peter White for organising the afternoon and giving us both the chance to share our work.
That our psyche plays a huge part in the appreciation or interpretation of art I think noone would dispute. In the creation of an image once a distinctive character has been developed, its very difficult to see beyond it and the completion of the image is now governed by how it can be enhanced (if it needs to be) or not. There’s not a lot more that can be done because there is no other prevailing interpretation no space in the mind, nor any other compelling reason to create anything new. I have a very clear vision about this image and I can’t see it any other way now. But I’m happy with that.