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I’m going to describe what you are about to see in my photo-art, or what you’re seeing. I know, I know, why would I want describe something you can already see. You have eyes! I guess it’s also a matter of asking why I do things visually. Maybe part of the answer is: I have more of a visual intelligence than another side of my intelligence. (to be determined)  I am what I am.
    Let me go to the subject of photography in general. Photography is based on an image – any image.  It shows a person, place, thing, a color, a lighting. It's something you like or don’t. It’s photojournalistic: it’s modernistic. It catches an image at a time and place with a lightness, darkness, and color you notice. Some part of what you see is based on your life style and the experience you’ve gained.  ANY subject! That’s all-around photography put simply.
     I SEE, he says, just as you do, but I usually pick up a few visual elements at a time and put them together in a visual sentence. An image means something that connects me to another something. You might do the same thing mentally, but I’m using the elements for a photo – a final photo representation. (That visual sentence again.)  I’ll give you a few examples: The Basics:  There’s a bunch of them. That’s what I do. But I’ll try to be a little more extreme from  Simple and Complex. 
THE SIMPLE: (but not easy)

We all see a few things at the same time. Each has it's own reason, it's own purpose. They're not connected, but they are. They may actually be part of the same purpose, but they have their own individual language.  An image, one subject on its own may have some attraction - or not. Others may not see what IT is. Or it can be a common subject we walk by frequently. IT just IS! They just exist or don't on their own. That's where the visual creation, the photo-art sentence, the Haiku, comes in. 

                  Praise Tree

praisetree1.jpgThis Buttonwood Tree was in the middle of a forest - surrounded by other trees. It’s a unique but familiar shape, as you can see. The trunk shape suggests the female form. The tree limbs give the look of arms stretched upward in an almost human religious act. I had to eliminate the surrounding images of other trees and backgrounds entirely. That left the tree image only. About 50 feet away from the tree, there was an artist sketching another subject along the river. I took a photo of the artist, and then eliminated the background of forest and river. I combined the two images, tree and artist, in their original size and scale. I then added a sky with clouds in the background. A light brought out tthe focus of attention. A lot of hours and careful work were needed to isolate and combine the desired images. A visual sentence.


            Halloween Hurricane

halloweenhurricanesandy.jpgThe Halloween Hurricane is pretty much self- explanatory from what I’ve already described. The difference here is that every single part of the piece is different yet combined to become a story with a beginning, middle, and end. But unlike others, it had taken me several months to photograph all the pieces. The subjects were nearly unreachable because of safety measures restricting persons not involved in the reconstruction process. Working on the piece took a month to complete. It required a total of 30 or more individual pieces with image isolation and reconstruction to fit.  A mental and physical construction. Halloween Hurricane received a 6th place award out of 707 entries in the Maryland Federation of Art - MDFA - yearly US.Canada landscape juried exhibit. 


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