Dear Christopher, Thank you for your interest in Photo Life. We would like to publish one of your images in our "Spotlight" column... Thanks Christopher... Kind regards, Xavier
Friday, July 31, 2009
News!!!
I received the following email and am very excited by the opportunity.
Dear Christopher, Thank you for your interest in Photo Life. We would like to publish one of your images in our "Spotlight" column... Thanks Christopher... Kind regards, Xavier
Dear Christopher, Thank you for your interest in Photo Life. We would like to publish one of your images in our "Spotlight" column... Thanks Christopher... Kind regards, Xavier
Tuesday, July 21, 2009
Friday, July 17, 2009
Railroad
My work through the Center for Fine Art Photography has been posted.
The Juror did not select me for any additional rewards. I feel inclusion of my work along side fourteen other artists is reward enough.
The Juror did not select me for any additional rewards. I feel inclusion of my work along side fourteen other artists is reward enough.
Wednesday, July 01, 2009
Flickr
Here's a quick way to find one's own Flickr Images that made it to Explore.
It turns out that one of my images made it to #29!!! I'm amazed and, of course, quite happy.
It turns out that one of my images made it to #29!!! I'm amazed and, of course, quite happy.
Friday, June 26, 2009
Ideas and how my images tend to evolve...
As I advance in years my photographic images are tending toward complexity. I used to feel that zen-like images of simplicity and austerity were a style I could explore for a very long time. Alas, after many trips to south India, I find that I love color, texture, line as well as detail. While not the only source of change, India has had a huge influence on me.
After reading a rather fun series of books about alternative histories, I thought it might be worth a photographic exploration of the topic. I started with Tribalism as expressed by bellydancers. Then I tried my hand at Steampunk. This video is of an image created out of one such photo-session.
The model is NagaSita. She is a local dancer and theatrical arts talent. The processing was performed in the PhotoShop Open Source equivalent called the Gimp. The evolution of the image clearly expresses the changes in how I felt as I worked the image to completion.
After reading a rather fun series of books about alternative histories, I thought it might be worth a photographic exploration of the topic. I started with Tribalism as expressed by bellydancers. Then I tried my hand at Steampunk. This video is of an image created out of one such photo-session.
The model is NagaSita. She is a local dancer and theatrical arts talent. The processing was performed in the PhotoShop Open Source equivalent called the Gimp. The evolution of the image clearly expresses the changes in how I felt as I worked the image to completion.
Sunday, June 21, 2009
Thursday, June 18, 2009
Wednesday, June 17, 2009
Paris, France
To dream... to wish... to desire... to wonder... could it be?... might it be?...
Galerie Baudoin
Galerie 1900-2000
Galerie Agathe Gaillard
Galerie Camera Obscura
Galerie Esther Woerdehoff
Galerie Francoise Paviot
Maison Europeenne de la photographie
A more complete list of international galleries...
Galerie Baudoin
Galerie 1900-2000
Galerie Agathe Gaillard
Galerie Camera Obscura
Galerie Esther Woerdehoff
Galerie Francoise Paviot
Maison Europeenne de la photographie
A more complete list of international galleries...
Wednesday, June 03, 2009
Tuesday, June 02, 2009
India
Such inspiration - if ever there was a body of work that I wanted to create, it would look like this
Monday, May 18, 2009
News!!!
The Center for Fine Art Photography
400 North College Avenue
Fort Collins, CO 80524
970.224.1010
May 18, 2009400 North College Avenue
Fort Collins, CO 80524
970.224.1010
Dear Christopher,
Congratulations! Your portfolio has been accepted for the Portfolio ShowCase Volume 3: Book and Online Exhibition at The Center for Fine Art Photography. Juror, Stella Kramer had the difficult task of selecting just 15 photographers from nearly 250 artists for this unique exhibition.
To view the portfolios that were selected, please visit the Center's website at www.c4fap.org. You will find the selected images and the information form under Jury Results in the bottom left corner of the Center's home page. Please complete and return the form provided.
Once again, congratulations on being selected for this exhibition.
Sincerely,
Azarie Furlong
Exhibitions Manager
Hamidah Glasgow
Executive Director
Friday, May 15, 2009
Tuesday, May 12, 2009
Portland
News Flash! My Steampunk work will be shown thru the month of October at Paradox Cafe in Sellwood. Yea!!
Friday, April 10, 2009
Open Source Tools
Its quite strange, actually. I have a new high end HP laptop computer. It runs Vista64 with 4gig of RAM and am loading my favorite open source tools onto it.
When it came to the Gimp, I found v2.6 and v2.4 crash on a regular basis.
Gimp v2.2.17 is rock solid.
Oh well. So much for "eye candy". If the old version works? I shouldn't complain. There must be something in one of the libraries that isn't configured correctly for the systems I've tried to run v2.4 and v2.6 on.
When it came to the Gimp, I found v2.6 and v2.4 crash on a regular basis.
Gimp v2.2.17 is rock solid.
Oh well. So much for "eye candy". If the old version works? I shouldn't complain. There must be something in one of the libraries that isn't configured correctly for the systems I've tried to run v2.4 and v2.6 on.
Tuesday, April 07, 2009
Thursday, March 12, 2009
Photography
I have been exploring a whole new set of tools for going on two years now. The move from film to digital capture was the prime mover for me to learn about current tools capabilities.
My explorations included a deep look into multiple exposure high dynamic range with tone mapping. The results of that learning led to the LensWork publication of a 35 image portfolio title In The Rail Yard. I continue to be thrilled by the results.
Another exploration has been to capture waterfowl in flight. The latest tools offer capabilities I only dreamed of back when I shot film. So image capture has been much easier. This has freed me to work on lighting and location. Much of that work has been posted on my Flickr pages and continues to receive positive feedback from around the world.
Just below this posting you can see yet another exploration. I am now learning about digital cinema. The process of thinking through scenes and scripts and staging and lighting brings back experiences I had thirty years ago when I worked as a still photographer on a small number of AFI projects down in Los Angeles.
Imagine my surprise when I came upon an image that nearly knocked my eyeballs out of their sockets. I haven't dealt in straight image capture for years and yet here was something completely unexpected; a beautiful image coming very nearly straight out of the camera.
My daily life usually sees me carrying a small Canon G10 point and shoot camera. I use it to "sketch" ideas and to try and capture fleeting moments where a DSLR or film camera might be cumbersome. Recently my wife and I were walking up the street after buying a few loaves of bread. I happened to look down and spied a rather nice grouping of ivy leaves. Out came the camera and within seconds I had four or five images to work from.
Much later (like two weeks later) I browsed my image files to see if there might be something worth processing. I rendered a few images in color and then switched to applying a quad-tone tint. As I de-saturated the image my mouth dropped open. The effect impressed me beyond my imagination.
I watch the video linked to from this blog about James Ravilious. He liked uncoated pre-war optics for the way they opened the shadow areas and gave the highlight regions a beautiful creamy effect. That's one of the things about coming from 40+ years of tradition film photography. I'm able to take a moment and think about what actually happens when something like an un-coated optic is used to make an image. I can then attempt to re-create the effect using my current digital tools.
In the case of this image, I knew the shadow areas would've been open and quite details if shot with an uncoated Leica M39 lens. I also knew that the highlight areas would've either been "blown out" or rendered just on the edge of detail. Working the curves to achieve that effect on the file I was working with was quick, easy, and straight-forward.
There was a nice print in here just waiting for me to press the button.
Out came Hanemuhle's latest photo rag smooth (from their new factory in France).
Down came the special feed tray on the HP B9180 printer.
Press went the print button on the computer.
Out came what may very well be one of the finest prints I have ever made.
The highlights are perfectly placed. The shadow areas are gorgeous. The edges of the leaves returned an incredible micro-contrast in the way they overlay each other. The edges of the frame gave the effect that this was shot with an old Leica III-series film camera. The entire effect is one of incredible luminosity and brilliance.
This one is a "keeper".
My explorations included a deep look into multiple exposure high dynamic range with tone mapping. The results of that learning led to the LensWork publication of a 35 image portfolio title In The Rail Yard. I continue to be thrilled by the results.
Another exploration has been to capture waterfowl in flight. The latest tools offer capabilities I only dreamed of back when I shot film. So image capture has been much easier. This has freed me to work on lighting and location. Much of that work has been posted on my Flickr pages and continues to receive positive feedback from around the world.
Just below this posting you can see yet another exploration. I am now learning about digital cinema. The process of thinking through scenes and scripts and staging and lighting brings back experiences I had thirty years ago when I worked as a still photographer on a small number of AFI projects down in Los Angeles.
Imagine my surprise when I came upon an image that nearly knocked my eyeballs out of their sockets. I haven't dealt in straight image capture for years and yet here was something completely unexpected; a beautiful image coming very nearly straight out of the camera.
My daily life usually sees me carrying a small Canon G10 point and shoot camera. I use it to "sketch" ideas and to try and capture fleeting moments where a DSLR or film camera might be cumbersome. Recently my wife and I were walking up the street after buying a few loaves of bread. I happened to look down and spied a rather nice grouping of ivy leaves. Out came the camera and within seconds I had four or five images to work from.
Much later (like two weeks later) I browsed my image files to see if there might be something worth processing. I rendered a few images in color and then switched to applying a quad-tone tint. As I de-saturated the image my mouth dropped open. The effect impressed me beyond my imagination.
I watch the video linked to from this blog about James Ravilious. He liked uncoated pre-war optics for the way they opened the shadow areas and gave the highlight regions a beautiful creamy effect. That's one of the things about coming from 40+ years of tradition film photography. I'm able to take a moment and think about what actually happens when something like an un-coated optic is used to make an image. I can then attempt to re-create the effect using my current digital tools.
In the case of this image, I knew the shadow areas would've been open and quite details if shot with an uncoated Leica M39 lens. I also knew that the highlight areas would've either been "blown out" or rendered just on the edge of detail. Working the curves to achieve that effect on the file I was working with was quick, easy, and straight-forward.
There was a nice print in here just waiting for me to press the button.
Out came Hanemuhle's latest photo rag smooth (from their new factory in France).
Down came the special feed tray on the HP B9180 printer.
Press went the print button on the computer.
Out came what may very well be one of the finest prints I have ever made.
The highlights are perfectly placed. The shadow areas are gorgeous. The edges of the leaves returned an incredible micro-contrast in the way they overlay each other. The edges of the frame gave the effect that this was shot with an old Leica III-series film camera. The entire effect is one of incredible luminosity and brilliance.
This one is a "keeper".
Portland
News FLASH! - My In the Railyard work will be shown at ProPhoto Supply's entryway gallery during the month of September 2009.
Yea!!!
Yea!!!
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