That pretty much sizes up my mood right now. I think I’ve reached my serial killer threshold.
My alternator finally died (for good) and so I had little choice but to sell my lenses. Not my camera! Just the lenses. The good side is that I’ve fixed my car. The bad side is that I’m stuck with one 28 MM film lens which doesn’t even attach to my camera. Yeah. Hard times!
Nevertheless, I force myself to see this as a positive situation; with much everything else. Having to hold my lens up to my camera, I discovered that I can bend the light in Hitchcockian fashion, if I do it juuuuust right. I get a good amount of blur (which I love) and heavier in-camera contrast. Not a bad thing. The downside is that it really sucks having to hold your lens up to your camera manually.
Alas, it served its purpose, which was to distract me from having to write my 6 page term paper today. About…you guessed it! Serial killers. I can’t believe I’m actually looking forward to beginning my psychology classes again next month. A person can handle studying only so many paraphiliacs before the brain begins to involuntarily shut down.
Which is what’s happening in my case.
On to my paper…
I grew tired of being afraid of the gargoyles on Spring street. Maybe “afraid” isn’t the right word; intimidated is closer to how they make me feel. I’ve seen those gargoyles there (at Industrial Nightmare– a haunted house attraction) for the better part of a decade and I’ve looked away every time I see them. They’re hideous. Lately, because I’ve been a bleeding wound from the breakdown of my relationship with J- it’s made everything seem worse than it actually is. Red lights seem longer, curious and inquisitive glances seem harsh and judgmental, time drags on painfully.
As I was driving by today, I saw the gargoyles. I practiced exposure therapy on myself- and it worked! I got out of my car, camera in hand (Lensbaby attached), put on my hazard lights, got out of my car and walked out into the street (yes, actually in the street) and stood below the gargoyle. I studied it briefly then fired off a round of shots. (I reasoned with myself: I’m not afraid to go into abandoned houses, quite the contrary- I love the “ache” that fills the gutted-out space and the stories they sometimes tell. I feel right at home in an abandoned house so there’s no reason why a gargoyle should intimidate me.)
Perhaps the truth is that I see a bit of my own nature in this creature:
When I hurt like I’ve hurt this past month without Josh- the world seems colder. I was alright to simply die inside and I really didn’t care much any more. Love is a funny thing: with a bit of it tucked safely in your pocket, you can take on the world. Without it- it’s a chore to breathe.
Josh came by today. We went for a walk across the creek and up over the train tracks. I was so happy to see him! All of the blame and accusations that have been gnawing out my heart melted away and I became very aware of my own fragility: I had taken him for granted and it really is that simple. This is something that can only be realized after the fact; when all of the chaos has died down and words have ceased and there’s only the echo of your thoughts to contend with.
I came across this picture today:
Happiness was so easy back then! Was that really only eight months ago?
Time can seem so cruel.
I’ve been lost in a sea of pain, but there’s a new layer to me that I felt earlier, as I was folding the clothes: a quiet strength that I never knew I possessed. My strength has always been as loud as thunder- very present and very obvious. This came in a whisper and it said, “This is the way things are now. Pick yourself up and carry on.”
“Your absence is so loud,” I said to Josh.
He held me for a moment. It was enough.
Lensbaby Composer/Double Glass Ops./shot in monochrome/5.8.13/natural lighting/manual- taken on my walk along the creek
Squire Boone Caverns
50 MM/manual/shot in monochrome
I can’t explain my attraction to ugly things.
In my years of rubbing elbows with many professional photographers, somewhere along the way I grew tired of perfection. “Textbook”.
It bothers me that people starting out in photography are being told that their images need to be “crystal clear”. Digital noise is considered a big-time no no. As a matter of fact, if there is grain and noise in an image, it’s even considered amateurish. But I like to go against the grain. (Pah tah bomp!)
The majority of people I know keep their cameras in “P” mode (and no folks, that does not mean “professional”). So few people shoot in manual any more!
People ask me questions about my images; they’re wanting to develop their own style. I tell them to break every rule they can.
Somewhere along the way, I fell out of love with “picture perfect” and decided to do my own thing.
I’m going to muck up my images with digital noise and a deliberate high ISO field.
Above all, I want to express mood.
For me, this means speaking with the light. (Exposure, ISO, and so on.)
Instead of “finding the light” in the frame, I study the shadows.
I begin with the darkened shadows and work the light into my photo (instead of the other way around).
Very film noir.
Such as my kitchen chair.
How do you make a kitchen chair tell a story?
How do you make it express a particular mood?
By finding the ugliness in a subject- I find its truth.
I loved the way the lighting was wrapping itself around the lines in this chair.
It makes me uncomfortable to look at this. It’s edgy. Dark. Somber.
Who would want to sit in that chair?!
But I find it terribly beautiful.
Try as I might, I can’t get away from this style.
It’s become who I am.
And I’m alright with it..
Shot in monochrome/ISO: 50/Manual exposure f/2
Sh. Sp.-1/20th sec.
I decided to convert my collage (Pain in Rainbows) over into a digitally rendered fauvist styled painting on stone. I rather liked the way it came out. While I wasn’t planning on sharing my arachnoid cyst situation with all of Australia, I wanted to include my Aussie friends (all of whom are artists: sculptors, writers, and painters) as we’ve all been close for about six years now.
I feel pretty fortunate to have such a great group of friends. Many have solo exhibitions and are quite successful in the art world. And, a finer bunch of people I’ve never known.
The site I’m referring to is Redbubble. I’ve been there six years. Hmm…maybe seven.
I really don’t like pop art. Never cared for the Marylin coloured collage or the tomato soup cans (though I admit that I was thoroughly infatuated with the life of Warhol and have much respect for his talent). I decided to mingle the style of pop art with my love of B&W to examine and interpret my migraine pain. I suppose it could convey most any pain. After all, we all live with pain- whether emotional or physical- but none escape it. Like art, music, laughter, joy, and death- pain is a language that needs no interpreter.
I have recently found my Canon G3 battery charger. The camera is absolutely obslete on todays market, but I know that camera better than my own skin. I cut my teeth on that camera (manual exposure, shooting in monochrome, manipulating the lighting and shadows, and so on).
I think the problems many artists and photographers face today are due to the fact that the modern digital cameras are so “capable” that the user need only click one main button, “auto”, and the camera “does it all”. While it can mimic the accuracy to a degree, it cannot automatically shape and mold the light on a level that one can attain if he or she manually adjusts the settings. It’s like comparing a bologna sandwhich to foie gras. Or, Vienna Sausages to caviar. If a person doesn’t know how to shoot in manual, he or she may still be able to create an effective image, especially in Lightroom, GIMP (which is what I use), or Photoshop, but then it falls into digital artistry and not so much “photography”.
If you are curious to know what kind of a photographer you are, throw your DSLR (or P&S) in MANUAL, as well as MONOCHROME, and go out during the golden hour as well as high noon- then look at the stills. When you can take a batch of photos that aren’t blown out, hot- and bleeding here or there- you’re ready to move on to a more advanced camera.
There’s really no point in getting a fancy camera if you don’t know how to shoot in all manual! I can’t say this enough. And the truth is, about 80% of all of us photogs that have high end cameras are LAZY. (Notice I said “us”.) Very few actually shoot in manual mode, much less understand how to.
If I had a big rig, I’d be the laziest photog in the world.
Thank God for innovation and ghetto-rigging.