Around the time of first grade, there was this small sign taped in the doorway that was always easily visible as I made my way out of the house. Stop, Look, & Listen…
It was an easy expression to recall, which as a kid, simply made the experience of crossing the roads on the way to school safer. The expression became sort of a chant, and it resonated in my mind like a good friend who was continuously reminding me in a calm, low, indistinct voice; some might call it a murmuration.
What's kind of funny about this is that the practice to stop, look, and listen never seemed to disappear as I grew into being a photographer. The experience of safely crossing roads became habit, and yet the practice of these simple acts turned up to define the essence of seeing and creating images. On the flip side of this, as a viewer, consider how images inform your other sensory experiences. I mean, upon viewing this quatrain, can you hear leaves falling, or the wind blowing… an airplane engine droning high up above… the shrill of a flock of starlings swooping in the sky, and synchronous to one another's every movement… a low rumble of distant thunder? If not, so be it… I can.
But what about the fish form, and where on Earth did that come from? How is this even possible? How can a flock of birds strike a collective pose as a fish? I believe that it can partially be explained with a quote by Louis Pasteur that I like to murmur from time to time, "chance favors the prepared mind."
Monday, February 24, 2014
Monday, February 17, 2014
Quatrain #23: Vacancy Signs
Viewer participation requested.
Click on the image to enlarge, then
describe what you see…
Use the comments link below.
Viewers writing about this post are to define its idea, not me…
Click on the image to enlarge, then
describe what you see…
Use the comments link below.
Viewers writing about this post are to define its idea, not me…
Monday, February 10, 2014
Quatrain #22: Dots & Dashes
.--. .... --- - --- --. .-. .- .--. .... -.-- / .. ... / - .... . / ... ..- .--. .-. . -- . / ..-. --- .-. -- / --- ..-. / ...- .. ... ..- .- .-.. / -.-. --- -- -- ..- -. .. -.-. .- - .. --- -. / --- -. / - .... . / .--. .-.. .- -. . - --..-- / .- -. -.. / - .... . / -.-. --- -- .--. .-. . .... . -. ... .. --- -. / --- ..-. / .. - ... / ...- .- .-. .. --- ..- ... / ..-. --- .-. -- ... / .. ... / .. -. - . --. .-. .- .-.. / - --- / ... ..- .-. ...- .. ...- .. -. --. / .. -. / - .... .. ... / -.-. ..- .-.. - ..- .-. . .-.-.- / .- .-.. - .... --- ..- --. .... / .. - / -- .- -.-- / ... --- ..- -. -.. / .- .-. .-. --- --. .- -. - / - .... . / .. -.. . .- / .. ... / -. --- - / -. . .-- .-.-.- / - .... . / -.. . -- --- -.-. .-. .- - .. --.. .- - .. --- -. / --- ..-. / - .... . / -- . -.. .. ..- -- / .-- .- ... / ..-. ..- .-.. .-.. -.-- / .- -. - .. -.-. .. .--. .- - . -.. / -... -.-- / ... --- -- . / .. -. / - .... . / --. --- .-.. -.. . -. / .- --. . / --- ..-. / -- --- .-. ... . / -.-. --- -.. . --..-- / .- -. -.. / .-.. --- -. --. / -... . ..-. --- .-. . / - .... . / -.. .- .-- -. / --- ..-. / -.. .. --. .. - .- .-.. / - . -.-. .... -. --- .-.. --- --. .. . ... .-.-.- / .... . .-. . .----. ... / --- -. . / --- ..-. / -- -.-- / ..-. .- ...- --- .-. .. - . / --.- ..- --- - . ... / - --- / . -- .--. .... .- ... .. --.. . / - .... . / .--. --- .. -. - .-.-.- / .-..-. - .... . / .. .-.. .-.. .. - . .-. .- - . / --- ..-. / - .... . / ..-. ..- - ..- .-. . / .-- .. .-.. .-.. / -... . / - .... . / .--. . .-. ... --- -. / .. --. -. --- .-. .- -. - / --- ..-. / - .... . / ..- ... . / --- ..-. / - .... . / -.-. .- -- . .-. .- / .- ... / .-- . .-.. .-.. / .- ... / - .... . / .--. . -. .-.-.- .-..-. / .-.. .- --.. .-.. --- / -- .- .... --- .-.. -.-- -....- -. .- --. -.-- / .- .-. - .. ... - --..-- / .--. .... --- - --- --. .-. .- .--. .... . .-. --..-- / ..-. .. .-.. -- -- .- -.- . .-. --..-- / -.. . ... .. --. -. . .-. --..-- / .- -. -.. / - . .- -.-. .... . .-. .-.-.- / .... ..- -. --. .- .-. .. .- -. / .---- ---.. ----. ..... -....- .---- ----. ....- -.... / - .... . / --.- ..- --- - . / .. ... / ..-. .-. --- -- / - .... . / --. . .-. -- .- -. / -... --- --- -.- / -... .. .-.. -.. . .-. / -.. . .-. / .--. .... --- - --- --. .-. .- .--. .. . / . .. -. / .- .-.. -... ..- -- / .--. .... --- - --- --. .-. .- .--. .... .. ... -.-. .... . .-. / -- . - .- .--. .... . .-. -.
[updated 17Feb14]:
Originally this post was only in Morse Code to convey its idea. In July 1999, the language was officially discontinued from being used as a form of international communication, and replaced by new technologies. So, just in case there's another time that someone sends you a cryptic message that looks like this, just copy and paste it HERE.
_________________________________________
Translation of the post:
Photography is the supreme form of visual communication on the planet, and the comprehension of its various forms is integral to surviving in this culture. Although it may sound arrogant the idea is not new. The democratization of the medium was fully anticipated by some in the golden age of morse code, and long before the dawn of digital technologies. Here's one of my favorite quotes to emphasize the point. "The illiterate of the future will be the person ignorant of the use of the camera as well as the pen." Lazlo Maholy-Nagy
Artist, photographer, filmmaker, designer, and teacher. Hungarian 1895-1946
The quote is from the German book Bilder der Photograpie Ein Album Photographischer Metaphern
[updated 17Feb14]:
Originally this post was only in Morse Code to convey its idea. In July 1999, the language was officially discontinued from being used as a form of international communication, and replaced by new technologies. So, just in case there's another time that someone sends you a cryptic message that looks like this, just copy and paste it HERE.
_________________________________________
Translation of the post:
Photography is the supreme form of visual communication on the planet, and the comprehension of its various forms is integral to surviving in this culture. Although it may sound arrogant the idea is not new. The democratization of the medium was fully anticipated by some in the golden age of morse code, and long before the dawn of digital technologies. Here's one of my favorite quotes to emphasize the point. "The illiterate of the future will be the person ignorant of the use of the camera as well as the pen." Lazlo Maholy-Nagy
Artist, photographer, filmmaker, designer, and teacher. Hungarian 1895-1946
The quote is from the German book Bilder der Photograpie Ein Album Photographischer Metaphern
Monday, February 3, 2014
Monday, January 27, 2014
Quatrain #20: Labyrinth Walking
Although visually complicated, labyrinths are not mazes because they typically have one point of entry and one path that leads to the center. The way out of a labyrinth is the same path in, and the basic design of its geometry is divided into fours [hey… like a quatrain!]. The intention of this posting is to affirm the act of producing photographs on a daily basis for the sake of the longer term. I think that producing images of only the "great stuff" encountered can limit potential and the extended range of vision. Producing images of even the most mundane fragments of subject matter too, over an extended period of time, can provide an intriguingly deep trail of salt while walking the day-to-day journey in. Because when editing on the way out what's rewarding is mysteriously found visual patterns, interactivity and continuity. When intuition whispers, photograph that, don't stop to question why... just do it!
Monday, January 20, 2014
Quatrain #19: Mandala Ensemble
I first learned of mandalas while studying the works of Carl Jung and Joseph Campbell, circa 1990. Many years later while pursuing my graduate degree, I revisited the semiotics of these visual forms and produced interpretations of them. Upon completion of that body of work, I thought that it was the last time that I'd spend such a measurable period of time investigating and visually distilling their potential meaning, but this is simply not the case.
The moment these four parts coalesced into a whole I began searching again, just to make sure that I understood what a mandala is. Here's a straight-up definition that raised my eyebrows when holding it up to the visual, and from which a connection can be realized. The alignment of linear visual elements gave me several minutes of pause and appreciation of how the subconscious finds ways of presenting itself.
Monday, January 13, 2014
Quatrain #18: Vicissitudes
I made a post a few weeks ago about change and the idea of it being such a normal aspect of our day-to-day, high-technology existence. That was a professional rant, but this one is from a more personal place. Let's face it. Change can be highly charged with the idea of unfamiliarity, and straight-up fear of the unknown depending on the situation. Having said that, it makes me reflect on how I've seen others deal with change, and then even, how I deal with it. Somehow, I have this naïve idea that most people simply accept change and move forward without hesitation or disruption to their life flow. They are liberated by change. Then there are others that I've known, who grew up through the [1st] Great Depression for instance, that would become practically immobilized by change, because change caused them such great stress, anxiety, and hardship. That, by the way, is called misoneism — a hatred or dislike of what is new or represents change.
Everything in moderation, I guess.
Monday, January 6, 2014
Quatrain #17: White Water
[updated 27Jan14]
January has proven to be the coldest and snowiest in recorded history around here. Interesting to see the timeliness of this posting, because of its inherent subject matter mostly, and because this was the type of weather statement frequently encountered via weather services. Maybe this can offer your sense of temperature some connection to the visuals, maybe not...
... WIND CHILL WARNING REMAINS IN EFFECT UNTIL NOON EST WEDNESDAY...
HAZARDOUS WEATHER...
* TEMPERATURES WILL REMAIN IN THE SINGLE DIGITS TODAY... FALLING QUICKLY BELOW ZERO THIS EVENING.
* THE COLD TEMPERATURES COMBINED WITH A STEADY WIND OF 10 TO 15 MPH WILL CREATE WIND CHILL CONDITIONS OF 10 TO 20 BELOW ZERO THIS AFTERNOON.
* WIND CHILLS WILL DROP TO AS LOW AS 25 TO 35 DEGREES BELOW ZERO TONIGHT. THESE LOW WIND CHILL READINGS WILL CONTINUE INTO THE LATE MORNING ON TUESDAY.
* TEMPERATURES WILL STRUGGLE TO CLIMB INTO THE POSITIVE DIGITS TUESDAY AFTERNOON. DANGEROUSLY COLD CONDITIONS WILL PERSIST TUESDAY AFTERNOON AND TUESDAY NIGHT WITH WIND CHILL VALUES REMAINING 15 TO 30 DEGREES BELOW ZERO.
Wednesday, December 11, 2013
Interdisciplinary Skills Are The Way To Go
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| Two-minute, Pinhole Camera Exposure |
Everything changes over time, but something significant has changed about the idea of change itself; that being its frequency —› see Moore's Law. Several centuries ago people simply didn't experience the magnitude of change that we do in a global, high-technology culture, but rather, they celebrated the idea of how consistent things remained for generations. Need a glaring comparison? Social, political, cultural, and artistic stylization didn't change very much during the stunning 3000-year Ancient Egyptian civilization, yet I'm sure that you've learned of the incredible rate of change happening there recently, let alone what's occurring regionally.
Living in the hyper-accelerated digital paradigm shift of late 20th and early 21st Centuries, very few [if any] artistic or applied science is immune to changing. Take for instance a look at how the Journalism profession has changed so radically over the last decade with the print versions of newspapers, magazines and their respective staff being displaced one by one. If you watch closely you'll notice that change doesn't discourage the individuals who are passionate and dedicated to their craft and livelihood. Instead, change is embraced because it energizes and inspires them to courageously move forward, and that's exactly what makes a career with professional photographic skills so compelling. Integrating photography into a holistic career plan provides a solid technical foundation to complement several other disciplines in digital media arts such as, animation, graphic design, film & video, or web publishing.
In other words, to embrace the culture of hyper change students must build their resume with interdisciplinary skills to remain competitive and marketable for entry-level employment, starting a business, or transferring to another school. What is your "and…" has become the question for emerging professionals to form a response to, and to emphasize the point, some notable film makers made photography a part of their professional repertoire in addition to studying theater [lighting]. Individuals such as Ridley Scott took a measurable period of time in their career to study and critically analyze the formal properties of image making before going into motion pictures. When one's knowledge and functional skills of a third discipline is pursued to further complement a pairing, then the chances for career success are even greater [I'm a teacher, photographer and web designer]. Other potential combinations are animation and video, or graphic design and web publishing.
A comprehensive program of study, like at Washtenaw Community College in Ann Arbor, prepares students for real-world, visual problem solving —› see WCC. The Digital Media Arts department offers students the opportunity to build their interdisciplinary resume by means of the electives chosen, starting in the second semester of their degree pursuit. Their facilities prove to be the best available in the State of Michigan, and offers students a huge range of strategies to produce images, via the traditional darkroom, the studio, and digital labs. Student work is held accountable to professional standards found in various sectors of the industry, making the final portfolios of the graduates highly competitive for transfer to a four-year art school, with Junior class status. Ultimately, the program offers students the opportunity to explore a dynamic medium to convey ideas and offer personal interpretations of their world, in addition to offering interdisciplinary electives to increase their marketability and artistic depth.
The photo program course sequence provides technical sequencing and instruction in traditional and digital image capture, software workflow [primarily in Adobe Lightroom & Photoshop], studio lighting for small product and portraiture, business and ethical issues for visual artists, theme-based projects and final portfolio development. The labs are exclusive to the Apple Macintosh platform, the Adobe Creative Suite of software applications, Apple Final Cut Pro, and Maya 3D. A twenty-station traditional darkroom and black-and-white film processing facility are complemented with two, twenty-workstation digital imaging labs, and a six-bay studio that features Profoto lighting equipment, a full complement of tungsten lighting gear, and many more peripherals.
Please contact me if you are interested in learning more about where I teach.
Sunday, December 18, 2011
Quatrain #16: Winter Solstice
The shortest day of the year in the northern hemisphere occurs this week. It's one of my favorite moments on the calendar because it represents a pivot point of dark and light. What I like about the darkness is that it gives me the perfect reason to ponder goals and strategies for the upcoming year, but it also gives me the time to think about what's occurred over the previous year.
So when I began to survey the last sixteen weeks to determine the project outcome, I kept wondering further instead of feeling any distinct sense of closure, which is what I anticipated. I mean, based on what I wrote in Quatrain #1, this was to be the last of the series, but now I'm not so sure, because there is a lot of satisfaction in producing these works. So, why stop now? Well, I realized that in order to continue with these constructions I simply need time to produce another critical mass of images, before I can produce another series of quatrains. This is based mostly on statistical odds you see, because it's not often that I have a situation resembling this one. In fact, I have to say that I've never had a situation quite like this before.
The first sixteen Quatrains are constructed from over 1,500 images captured over roughly fourteen months, which were edited down to about 250, and then edited down to the final 64 of the series. That's sort of like having a .042 batting average! Not exactly something to brag about, but just the same, that's the reality of being a visual artist, and many of my teachers reinforced the idea by expressing that one can never shoot too much.
As a matter of coincidence, and a great way to bookend the series, is the fact that my fireplace mantel, included above, is actually one of the first images I can point to when the collection began to take its form. And that opens the perfect segue to the winter solstice, which for me is a celebration of light, since it is from that day until June 21st on the summer solstice, that each day gets gets just a little bit longer than the previous one. Among others, that is a great thing to look forward to.
So when I began to survey the last sixteen weeks to determine the project outcome, I kept wondering further instead of feeling any distinct sense of closure, which is what I anticipated. I mean, based on what I wrote in Quatrain #1, this was to be the last of the series, but now I'm not so sure, because there is a lot of satisfaction in producing these works. So, why stop now? Well, I realized that in order to continue with these constructions I simply need time to produce another critical mass of images, before I can produce another series of quatrains. This is based mostly on statistical odds you see, because it's not often that I have a situation resembling this one. In fact, I have to say that I've never had a situation quite like this before.
The first sixteen Quatrains are constructed from over 1,500 images captured over roughly fourteen months, which were edited down to about 250, and then edited down to the final 64 of the series. That's sort of like having a .042 batting average! Not exactly something to brag about, but just the same, that's the reality of being a visual artist, and many of my teachers reinforced the idea by expressing that one can never shoot too much.
As a matter of coincidence, and a great way to bookend the series, is the fact that my fireplace mantel, included above, is actually one of the first images I can point to when the collection began to take its form. And that opens the perfect segue to the winter solstice, which for me is a celebration of light, since it is from that day until June 21st on the summer solstice, that each day gets gets just a little bit longer than the previous one. Among others, that is a great thing to look forward to.
Sunday, December 11, 2011
Quatrain #15: Three Hour Blues
The week ahead promises to have its fair share of excitement, and perhaps even drama, as the clock ticks the remaining precious seconds from the closing hours of the semester. In particular, I am thinking of the students I've been working with in a course called Portfolio Seminar, which asked them the question fifteen weeks ago, "what do you plan to do with the rest of your photographic life?" Finding the answer to that is not as easy as one might think or want it to be. In short, it's a course that provides the tools and techniques to create not only a final portfolio with visual continuity and integrity, but a professional identity, a brand, and a basic marketing plan that is going to enable the next step of their photographic life.
These fifteen weeks have been all about thinking, dreaming, planning, creating, construction, deconstruction, and aspiring to new levels of excellence in themselves and their works. One of my teachers, Sam Abell, used an expression while editing work that I'll never forget, and that I now use frequently; meet or exceed. It speaks to the idea of determining what the best work you've ever produced is, and then holding every image produced in the meantime up to that. If a comparison is being made to see if the new work is as at least as good, or preferably better than the best already determined, then the expression can be invoked. It's one of the most useful measuring instruments I know of that perpetuates personal and professional growth.
So what's up with the three hour blues? If I divulge that now, then I'll spoil it for my students, since word has it that they've been reading this blog, too. Sorry, but you're going to have to ask one of them what I mean by this a week from now.
These fifteen weeks have been all about thinking, dreaming, planning, creating, construction, deconstruction, and aspiring to new levels of excellence in themselves and their works. One of my teachers, Sam Abell, used an expression while editing work that I'll never forget, and that I now use frequently; meet or exceed. It speaks to the idea of determining what the best work you've ever produced is, and then holding every image produced in the meantime up to that. If a comparison is being made to see if the new work is as at least as good, or preferably better than the best already determined, then the expression can be invoked. It's one of the most useful measuring instruments I know of that perpetuates personal and professional growth.
So what's up with the three hour blues? If I divulge that now, then I'll spoil it for my students, since word has it that they've been reading this blog, too. Sorry, but you're going to have to ask one of them what I mean by this a week from now.
Sunday, December 4, 2011
Quatrain #14: Chicago Jam Session
I felt the need to crack open the stillness implied in Fluidity Interrupted with a little fun, and found this arrangement asking a couple of my favorite questions about color. The trigger being that I have heard musicians and writers talk about how certain notes, sounds, and poetry convey ideas of color, even though perceived by means of auditory, instead of visual sensory. To clarify the point, could you imagine telling a pianist that the music they play sounds like a piano? Where in fact, if the artist knows how to control the instrument, a piano is capable of playing a wide range of genre, and a listener hears the music as a song, and not as a piano. So, this compels me to ask, what is the color of a voice? And, what is the voice of a color?
Sunday, November 27, 2011
Quatrain #13: Fluidity Interrupted
I think there is something to be said about the idea of flow. The word gets used all the time to convey the essence of one's ability to get things done efficiently, and with fluidity. Workflow, for instance, is used frequently to define a pattern of efficient work habits, regardless of whether the task is being completed with traditional or digital methods. It's common jargon in a photographic context, as it's used to define the dynamism of an artist's interaction with their hardware, digital assets and software procedures, but ultimately, it defines their psychological flow of getting things done. I'd like to take this a step further by suggesting that flow also has this implied sense of patience, harmony, and even peacefulness.
If (when) my flow gets interrupted, then the disconnect becomes all the more amplified. I find it really ironic, actually. With all this flow that we can experience in this era of hyper-technology and interconnectedness, let me ask, how often does your psychological flow get disrupted by eMail, the phone, a text, a TV, or whatever else is going on around you? Ever think of just turning all that off sometimes just to find your flow?
If (when) my flow gets interrupted, then the disconnect becomes all the more amplified. I find it really ironic, actually. With all this flow that we can experience in this era of hyper-technology and interconnectedness, let me ask, how often does your psychological flow get disrupted by eMail, the phone, a text, a TV, or whatever else is going on around you? Ever think of just turning all that off sometimes just to find your flow?
Sunday, November 20, 2011
Quatrain #12: Liquid Enlightenment
The boys high school water polo season concluded recently, and now swim season is here. Practice begins Monday with a 5,000 yard workout, and then virtually every day on the calendar thereafter is charted with practices or meets until mid-March. It's an impressive routine that makes for no less than an 17-hour day for my son.
As if school doesn't start early enough for teenagers, let's toss in 6:00am practices for good measure. That means, get up around 5:00am. Practice for two more hours after school? No problem. That'll keep those hormones from getting the upper hand. Hey, toss me a chocolate milk!... research has proven that it's the best recovery drink around. Got homework? Get it done by 10:00pm so you can get some sleep for gosh sakes, because if the GPA slips, then you're diplomatically dropped from the team. Maybe High School can be re-named High Stress instead.
Don't get me wrong. I think all this drilling, trimming, timing, stroking, styling, flying, breathing, kicking, and tapering, does wonders for a teenager. I swim two, sometimes three times a week myself and wouldn't trade it for any other form of exercise in the world. My selfish sarcasm is aimed at the idea that I should have a chauffeur's license rather than the standard issue Michigan driver's license. I have an ocean of driving time ahead of me. But on the other hand, I suppose that if I wasn't getting around town so much in the last year doing this, then a good portion of the quatrains wouldn't even exist. Hmmm... I'm torn.
So I'm not sure what my complaining and bargaining is about. Wait... oh, yeah, that DABDA thing... 'B' is bargaining. Zoiks.., I'm grieving! The fact is, his experience of high school exponentially transcends what mine was like, and that's a good thing. But this kind of commitment is something that I never, ever anticipated seeing when I signed up to be a parent. Sorry to dump on you like this, but thanks for listening.
Sunday, November 13, 2011
Quatrain #11: Pressurized Instincts

It has been a crazy couple weeks... literally. I know a guy that has taken what many people might consider to be an unusual act. He dropped everything, and went to Russia. Can I blame him? Considering his situation, not really. He's just trusting his gut to find his idea of happiness. With respect to his family, I won't elaborate why.
Being on this side of the equation all I can do is chalk it up to, the older you get, the more losses you tend to incur. The reason I say this is because just within the past few years, I have witnessed several people abruptly change the idea of who they are, what they are made out of, where they live, when they can be contacted, how they choose to love someone, and then... why they even exist. It's stunning. It's courageous. It's nature taking its course. Each of us are standing on the sidelines of each other's life... watching... wondering... supporting... etc., and sometimes being their witness leaves us bewildered... cheering... enraged... etc. Intervention, and jumping into someone's issues from the sidelines to encourage a change of direction takes a massive commitment of time and resources. Ultimately however, change can only be made by, and from within the individual.
Being on this side of the equation all I can do is chalk it up to, the older you get, the more losses you tend to incur. The reason I say this is because just within the past few years, I have witnessed several people abruptly change the idea of who they are, what they are made out of, where they live, when they can be contacted, how they choose to love someone, and then... why they even exist. It's stunning. It's courageous. It's nature taking its course. Each of us are standing on the sidelines of each other's life... watching... wondering... supporting... etc., and sometimes being their witness leaves us bewildered... cheering... enraged... etc. Intervention, and jumping into someone's issues from the sidelines to encourage a change of direction takes a massive commitment of time and resources. Ultimately however, change can only be made by, and from within the individual.
Midlife crises? Perhaps. The people I am speaking of range in age from early 40-something to late-50 something, so I guess it's all relative. Nevertheless, I like to think of it this way... life can just squeeze what appears to be working just fine into a complicated mess in a fraction of a second. The undeniable pressure of their lives eventually crushed them to the core, and the only path that remained visible and survivable was trusting the way of their instincts. It's not about being right or wrong, it's an affirmation that all we have left sometimes is what nature tells us to do.
Sunday, November 6, 2011
Quatrain #10: Peculiar Singularities
Today, I do not need to speak
No explanation necessary
Song Lyrics quoted from David Gray; A Clean Pair of Eyes; Lost Songs 95-98
Song Lyrics quoted from David Gray; A Clean Pair of Eyes; Lost Songs 95-98
Sunday, October 30, 2011
Quatrain #9: Autumn Laugh
Spell fall backwards, and what do you get? And now I'm wondering if you did... laugh, I mean. It never ceases to amaze me how this season penetrates my mind with such a depth of muse and reflection. To bring a little balance to all the gravity that prevails, I like to recall a guy in high school tossing out a quote to class one morning; "life is too serious to be taken seriously," he said confidently.
In Michigan anyway, this season has so many properties of the natural world signaling so loudly, almost laughingly, to remind us silly humans that the only thing remaining constant is change itself. And this is one of the reasons why I love to photograph so much, because it gives me opportunities to pause and laugh, and of course experience so many other feelings that are evoked from the world as it unfolds around me. If I photograph everyday the connection to my world can be profound, since the idea of change is evident each time I see through a lens. Yes.
In Michigan anyway, this season has so many properties of the natural world signaling so loudly, almost laughingly, to remind us silly humans that the only thing remaining constant is change itself. And this is one of the reasons why I love to photograph so much, because it gives me opportunities to pause and laugh, and of course experience so many other feelings that are evoked from the world as it unfolds around me. If I photograph everyday the connection to my world can be profound, since the idea of change is evident each time I see through a lens. Yes.
Sunday, October 23, 2011
Quatrain #8: Effervescence

Either way — half empty, or half full — let's say there's sparkling water in that glass with an immeasurable number of effervescent bubbles racing to the surface. If bubbles are metaphor for questions, then that means each of us are seeking for an immeasurable number of answers. Funny thing is... once we think we've found an answer, sometimes it's only a new place to begin pointing more questions.
The effervescence of mind must be deeply contemplated from time to time... burp.
Sunday, October 16, 2011
Quatrain #7: Collective Unconscious
So I've been wondering about this experience of finding visually congruent forms. The discovery of these similarities from wildly different situations are weeks or months apart. Assembling them conjured up a mélange of being both mystified and intrigued. It's not like I pre-meditated the idea of, "I think I'll seek out red and yellow color notes today." To be perfectly honest, the import chronology of these images goes 2, 4, 1, then 3. It would be logical to assume that I saw them in the order presented in this quatrain, but if that were the case, it would make for an entirely different visual metaphor, if at all [view it]. The assembly viewed above might imply that seeing "1" meant that I sought out "2," and then especially "3 & 4" to round out the collection, but again, that's not the case.
I've stated this in a previous posting, but the experience of finding is pure serendipity. There is no plan. All I can do is trust the intuitive response when I find it, trust the unconscious whisper, look at this, take this, and then move forward. I saw this t-shirt the other day with a classic Yoda quote on it that said, "do or do not, there is no try." And it's a lot like that. I'm just doing.
So then, is this process pre-visualization? Not so much. Then is this process post-visualization? Definitely. I edited the next paragraph from the graduate essay I wrote on visual literacy, and although it requires a little extra bending of one's brain, it can help define what I'm doing. It defines what a lot of artists are doing.
I've stated this in a previous posting, but the experience of finding is pure serendipity. There is no plan. All I can do is trust the intuitive response when I find it, trust the unconscious whisper, look at this, take this, and then move forward. I saw this t-shirt the other day with a classic Yoda quote on it that said, "do or do not, there is no try." And it's a lot like that. I'm just doing.
So then, is this process pre-visualization? Not so much. Then is this process post-visualization? Definitely. I edited the next paragraph from the graduate essay I wrote on visual literacy, and although it requires a little extra bending of one's brain, it can help define what I'm doing. It defines what a lot of artists are doing.
So regardless of the prefixes of "pre-" (earlier) and "post-" (future), both modes of seeing define the profound connection they have to an antecedent of some kind. Each final image [quatrain] does not truly supplant these earlier fragments, because they have collectively become the anterior. The idea of post-visualization parodies the idea of pre-visualization, and helps identify postmodernism, or as cultural theorist Jean-François Lyotard states, "Postmodern would be understanding according to the paradox of the future (post) anterior (modo)." If this just confuses the heck out of you, don't worry. But if you think about how people created art with the technologies of the modern era, compared to now, then the definition of the postmodern era might make a little more sense.
So after all that dissection of process, you might be wondering about the title of this quatrain, which is the real reason why this posting is here. Well, that's another Jungian thing that I like to think about, and that I've have something to say about, but ultimately what that something is relies on you.
So after all that dissection of process, you might be wondering about the title of this quatrain, which is the real reason why this posting is here. Well, that's another Jungian thing that I like to think about, and that I've have something to say about, but ultimately what that something is relies on you.
Sunday, October 9, 2011
Quatrain #6: Communication Breakdown

Oh,wait!... what I mean is... think what you see.
Sunday, October 2, 2011
Quatrain #5: Seeking Clarity

Sunday, September 25, 2011
Quatrain #4: A Conversation of Color & Line

One of my earliest and most formative memories of seeing the world through a viewfinder was the process of studying and composing the interaction of color and line. And I found that the ongoing conversation between these two formal properties of image construction are the most compelling as they are appear in dramatic specimens of architecture. Some of my earliest photographic works are fascinations and recognitions of a geometric order in architectural form, and this way of seeing, or I could say, "this state of being," has never ceased.
So offering a small part of a much larger whole with simple design, frame-to-frame, and then collectively, is about as deep as this quatrain goes. It's an homage to color and line with a twist.
With that said however, this sequence of four has been one of the most elusive for me to organize and settle on as it is. I wrestled with several image choices and quatrain iterations to reveal a couple visual threads that could convey an idea. Each iteration brought emphasis to specific subject matter, form, line, positive & negative space, among other things, but none of the others brought the conversation to closure like this one did. Looking into the details might reveal some intriguing surprises.
So offering a small part of a much larger whole with simple design, frame-to-frame, and then collectively, is about as deep as this quatrain goes. It's an homage to color and line with a twist.
With that said however, this sequence of four has been one of the most elusive for me to organize and settle on as it is. I wrestled with several image choices and quatrain iterations to reveal a couple visual threads that could convey an idea. Each iteration brought emphasis to specific subject matter, form, line, positive & negative space, among other things, but none of the others brought the conversation to closure like this one did. Looking into the details might reveal some intriguing surprises.
Sunday, September 18, 2011
Quatrain #3: Unsown Seeds
One year ago today... perhaps not exactly the date... but just the same, I clearly remember it being a late-summer, late-Sunday afternoon. I learned via eMail that one of my students had suddenly died in a car accident along with another young man. It was a moment where all one could do is exclaim in response, "no!" He was 20-something, brimming with optimism, and loaded with talent. All I need to say for now is that I really miss seeing and working with him. He was on track to graduate within the year, so his absence was very palpable.
By this time in my life, of course I knew what it was like to learn of someone passing away. Whether it's a friend, relative, or acquaintance, news like this is never easy to hear about and process. But this was the first time a tragedy of this magnitude made such a deep impression on my photographic life.
A little more than two weeks later, I learned that another student passed away because of complications from a condition he'd been battling for several years. He too was brimming with optimism, and loaded with talent, at the age of 69. I really miss him, too, and this second event made for a rather extensive time to reflect.
Two very different lives that I found who had some common ground, a passion, and a vision. I know for certain that there are some unsown seeds they had produced... their photographs, I mean... those that were made but not quite ready for release.
By this time in my life, of course I knew what it was like to learn of someone passing away. Whether it's a friend, relative, or acquaintance, news like this is never easy to hear about and process. But this was the first time a tragedy of this magnitude made such a deep impression on my photographic life.
A little more than two weeks later, I learned that another student passed away because of complications from a condition he'd been battling for several years. He too was brimming with optimism, and loaded with talent, at the age of 69. I really miss him, too, and this second event made for a rather extensive time to reflect.
Two very different lives that I found who had some common ground, a passion, and a vision. I know for certain that there are some unsown seeds they had produced... their photographs, I mean... those that were made but not quite ready for release.
Sunday, September 11, 2011
Quatrain #2: Red, White, & Blue
On that morning, the air was crisp, the sun was hot, the sky was bald and blue. I took my daughter to preschool, and prepared my mind for one of the first days of teaching that semester. The car radio was tuned to NPR and by the time I got home, I heard this unbelievable news. I'll never forget walking into the front door and immediately telling my wife about it. A friend of hers was there then too, and the words I heard her say in response were very callous and cold. I believe that she really didn't understand what I was talking about, and I was flummoxed.
The gravity of the news stunned my mind and body because it was many moons previous that I was there, gazing with wonder at that magnificent site. The apartment of my friend at Canal and Varick had this seventh floor, up close and personal view of them. Although appearing to be practically next door, they were really blocks and blocks away. He and his wife always gave me a futon to sleep on with a window view. When I cast my gaze from the floor up to the night time sky, there they were; humble, peaceful, and glowing with that playful randomness that interior lighting always seems to do. Regardless of the car horns, alarms, sirens, and subways passing through, falling asleep was never difficult. They would bid me goodnight, then greet me in the morning; stellar, bold, and just standing there... so cool. No matter how many times I visited, I always loved to see those friends, see that site, be in The City.
I drove to the college, and I listened to the radio on the way. I found out that it happened a second time. I sat at a red light at the intersection of Huron Parkway and Washtenaw Avenue, waiting patiently, listening helplessly. As I walked into the LA building, people were crowded around one of those TVs mounted up high on a wall, near the ceiling. That was the first time I saw what I heard. A faculty member suddenly turned around to escape the crowd, and as our eyes met he threw his hands into the air and exclaimed, "who would do this?!, ...who would do something like this?!" I was speechless. I had no idea what to say. I watched some more, and still couldn't really understand what I was seeing, and I'm not sure if anyone else standing there could either. I got to my office, closed the door, and cried.
The rest of the day was just surreal. I went to lunch with a colleague and the sky was just as clear, in fact, it appeared to be even clearer. There was not an aircraft to be seen anywhere, at any altitude, let alone the typical mess of contrails that paint the sky with diagonals. When I taught my 1:00pm class, I started with, "whoever needs to go home, can go home... no questions asked." Those who know my attendance policy are the only ones who can put any real value on that statement. When I returned home a mountain of news had accumulated... it was overwhelming. We had a TV, but we hadn't used it for any sort of broadcast reception for almost two years. No antennae, no cable. I went to a local mega-grocer-department store to buy a set of rabbit ear antennae for 12 bucks. As for the picture quality? It was so 20th Century.
Did this change my life? Yes, indeed. Does my experience attempt to compare itself to someone who had a friend or loved one that got in the way of all this? No way.
As for the quatrain? Let your mind wander, wonder, and find on its own.
The gravity of the news stunned my mind and body because it was many moons previous that I was there, gazing with wonder at that magnificent site. The apartment of my friend at Canal and Varick had this seventh floor, up close and personal view of them. Although appearing to be practically next door, they were really blocks and blocks away. He and his wife always gave me a futon to sleep on with a window view. When I cast my gaze from the floor up to the night time sky, there they were; humble, peaceful, and glowing with that playful randomness that interior lighting always seems to do. Regardless of the car horns, alarms, sirens, and subways passing through, falling asleep was never difficult. They would bid me goodnight, then greet me in the morning; stellar, bold, and just standing there... so cool. No matter how many times I visited, I always loved to see those friends, see that site, be in The City.
I drove to the college, and I listened to the radio on the way. I found out that it happened a second time. I sat at a red light at the intersection of Huron Parkway and Washtenaw Avenue, waiting patiently, listening helplessly. As I walked into the LA building, people were crowded around one of those TVs mounted up high on a wall, near the ceiling. That was the first time I saw what I heard. A faculty member suddenly turned around to escape the crowd, and as our eyes met he threw his hands into the air and exclaimed, "who would do this?!, ...who would do something like this?!" I was speechless. I had no idea what to say. I watched some more, and still couldn't really understand what I was seeing, and I'm not sure if anyone else standing there could either. I got to my office, closed the door, and cried.
The rest of the day was just surreal. I went to lunch with a colleague and the sky was just as clear, in fact, it appeared to be even clearer. There was not an aircraft to be seen anywhere, at any altitude, let alone the typical mess of contrails that paint the sky with diagonals. When I taught my 1:00pm class, I started with, "whoever needs to go home, can go home... no questions asked." Those who know my attendance policy are the only ones who can put any real value on that statement. When I returned home a mountain of news had accumulated... it was overwhelming. We had a TV, but we hadn't used it for any sort of broadcast reception for almost two years. No antennae, no cable. I went to a local mega-grocer-department store to buy a set of rabbit ear antennae for 12 bucks. As for the picture quality? It was so 20th Century.
Did this change my life? Yes, indeed. Does my experience attempt to compare itself to someone who had a friend or loved one that got in the way of all this? No way.
As for the quatrain? Let your mind wander, wonder, and find on its own.
Sunday, September 4, 2011
Quatrain #1: The Four Seasons
This posting launches a collection of visual poems that I am releasing throughout the remainder of the year; one per week, for sixteen weeks. Each poem is composed with four images to form a quatrain, which in the literary world is a style of poetry limited to four line stanzas of any kind; rhymed, metered, or otherwise. Without a doubt, an image holds potential for poetic expression all by itself, but when held up to other images the possibilities of expanding on ideas and even storytelling become really compelling.
In October 2010, I began to consider in earnest my humble iPhone to be the iWitness of my relentless wanderings, wonderings, and the found. This gadget has revealed itself to be one of the greatest partners of my photographic life, since the work that I have produced with it absolutely defines the essence of this blog. I fell in love with the act of seeing unlike any other time of my life, and I am grateful to the forces that kindled this crucible of creativity. A physical and creative process that lends itself entirely to the immediacy of the moment, and the ability to share even the simplest of forms with someone else, who I think can value it. The process has become just like shouting down the road to a friend, "hey, look!... I wish you were here to see this with me because this event is going to disappear in just a few minutes (seconds)."
I should mention that I get out to walk my dog, Zuzu, two to three times a day, so the effort of getting out to think, wander, wonder, and find... it's just part of what I do. What I respond to in any given situation is difficult to put a finger on. There is no rule, and any one image is a response to a huge range of possibilities. An image can be triggered from what someone said, to being a visceral response of current events. In the end, what ultimately gets found are the intangibles; feelings, memories, dreams, and reflections.
The quatrains then, are larger assemblies of ideas. Each image removed from its original intent and made part of a new whole. I like to think that unconsciously, I was putting these all together from the beginning, but that is a bit of a stretch. So I'll just say that a quatrain is purely a manifestation of intuition, and what they mean to me, they most likely won't mean to you. Allow yourself to interpret a quatrain the way you see it, and how it speaks to you via your life and experience.
In October 2010, I began to consider in earnest my humble iPhone to be the iWitness of my relentless wanderings, wonderings, and the found. This gadget has revealed itself to be one of the greatest partners of my photographic life, since the work that I have produced with it absolutely defines the essence of this blog. I fell in love with the act of seeing unlike any other time of my life, and I am grateful to the forces that kindled this crucible of creativity. A physical and creative process that lends itself entirely to the immediacy of the moment, and the ability to share even the simplest of forms with someone else, who I think can value it. The process has become just like shouting down the road to a friend, "hey, look!... I wish you were here to see this with me because this event is going to disappear in just a few minutes (seconds)."
I should mention that I get out to walk my dog, Zuzu, two to three times a day, so the effort of getting out to think, wander, wonder, and find... it's just part of what I do. What I respond to in any given situation is difficult to put a finger on. There is no rule, and any one image is a response to a huge range of possibilities. An image can be triggered from what someone said, to being a visceral response of current events. In the end, what ultimately gets found are the intangibles; feelings, memories, dreams, and reflections.
The quatrains then, are larger assemblies of ideas. Each image removed from its original intent and made part of a new whole. I like to think that unconsciously, I was putting these all together from the beginning, but that is a bit of a stretch. So I'll just say that a quatrain is purely a manifestation of intuition, and what they mean to me, they most likely won't mean to you. Allow yourself to interpret a quatrain the way you see it, and how it speaks to you via your life and experience.
Sunday, July 4, 2010
Sending Light Aloft...
I've been seeking out a way to render the summer solstice ever since I
did the winter solstice in 2000. Both are a celebration of light.
Saturday, May 29, 2010
Hanetuki

20 May 2010 I had the honor of meeting six school children at the Sadako Children's Memorial in Hiroshima, Japan. Although our serendipitous encounter was very short, it was one of the most amazing and mysterious experiences of my visit. This paper construction I received was produced by kids from Kamigo Elementary School, Yamaguchi Prefecture, Japan. Endearingly misspelled, Hanetsuki is a game similar to badminton, without the net. You'll soon learn that the remainder of this posting has nothing to do with the game, but instead provides only a tactile memento of this wandering.
When this group of kids approached me, each introduced him/herself in English with facts about where they were from, and questions for me regarding where I was from. Not that this was anything unusual. As a Westerner at a significant destination such as this in Japan, it is a very common to be approached by a group of school children and asked to participate in a brief cultural exchange. What made this encounter particularly unique is that I had been desperately seeking for a maigo (lost) student of my own for almost a hour, and let me just say that his personality and biological predisposition warranted my heightened concern and anxiety for his well being, let alone his whereabouts in the thick of a major Japanese city. As far as I was concerned, it was going to take me the remainder of the day to find him, if at all.
During the first few moments of this encounter with these kids I probably conveyed hesitation and some resistance to engage in their request, due to my anxiety. What I remember saying to myself was, "I simply can't afford to do this right now." But what I discovered in the passing seconds was a melting away of stress, an opportunity to take a deep breath, and get myself centered. Anxiety was exchanged for peacefulness.
They handed me the Hanetsuki construction, we bid our respectful farewells, I walked about 30 sobered paces; and there he was. I found my student emerging from some heavy pedestrian traffic, blissfully on his way to this site. Relieved and mystified to see him, I nonchalantly greeted him and expressed some urgency that we needed to catch up to the other 17 people in our group. I'm not looking for an explanation, I'm just going to go with this one, but I am once again participant to synchronicity, with a bit of Zen mixed in for spice.
I received the paper construction as a very meaningful gift, and I treasure it, but hindsight, the entire episode is a gift. I am so thankful for those kids for making my visit so special, and my memories of Japan so powerful. The more I think of it I am beginning to grow strangely thankful for my student getting lost and found — now that is one unusual gift.
I received the paper construction as a very meaningful gift, and I treasure it, but hindsight, the entire episode is a gift. I am so thankful for those kids for making my visit so special, and my memories of Japan so powerful. The more I think of it I am beginning to grow strangely thankful for my student getting lost and found — now that is one unusual gift.
Sunday, May 16, 2010
Moon Over Lake Biwa

This is the cherry that tops off a truly amazing week in Japan. After an eventfully long day, this celestial event immediately took me back out again — the Moon and Venus setting together. When I arrived at the lake shore, an old man was fishing while sitting on the rocks in the darkness. He was obviously content to send out another cast and we witnessed the spectacle together. Whether he caught anything tonight, or not, is another story. All I know at this minute is that I am very fortunate to know Japan as a deeply mysterious place, where synchronicity can have incredible positive flow within a culture of immeasurable rules, etiquette, and protocol.
Sunday, May 9, 2010
Itadakimasu!
Monday, November 2, 2009
Thursday, September 24, 2009
Friday, August 14, 2009
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