Holly Fischer hand builds ceramic sculptures with white stoneware clay. I set the aperture of my telephoto lens wide open in order to shoot close to the objects using ambient gallery lighting and to create an ambiguous sense of scale with a narrow depth of field. Her work in the exhibit represented here is all natural white ceramic. Any darker tonality is created in the editing process.
The play between gallery spot lights and the folded surfaces of her sculptures created a complex geography of shadows and light: shadows on shadows, light on shadow, light on light, for close shifts of grey tones. In some instances I applied a solarization filter to reverse tonality (light to dark and dark to light) and a mezzotint filter during editing for a grainy textural appearance. In either case the sculptures were delightful subjects for my black and white compositions.
I’ve learned not to think when I run out with my camera to take some pictures. I may have a feeling about a place, a time of day, a sense of perfection or ruin in mind, but I am looking in my camera for something that just feels right. When I began as a photographer I had to think until I mastered operating my camera controls, which were all manual. Unfortunately, that habit of thinking about every shot really inhibited my shooting; and I took forever to expose a roll of film.
I was over my hesitancy when my enthusiasm for photography was reignited in 2000 or so when I accepted warm invitations from Randi Laak, then an instructor at the Worcester Center for Crafts, to enroll in his Friday evening photography class. I freely experimented with exposures, films, darkroom chemistry and processes as I had not when I started out.
Together with the freedom in the darkroom (And now in Photoshop), the history of photography of which I had learned as a beginning photographer and witnessed in publications and exhibitions as time passed, and my love of many paintings, prints, sculptures, etc. at the Worcester Art Museum and elsewhere, I am endowed with feelings associated with these beautiful or provocative objects that are evoked, I believe, as I walk through the world. I think those feelings and associations are part of my feeling of “rightness” when something captures my eye.
The universe seems to notice that I take the time to stop and see things then once in a while shouts at me to stop and look at this!
Here’s one example of a landscape photograph of a scene of light penetrating a shadowy wild place for which I felt similarly to when I look at an 18th century painting by Alessandro Magnasco:
My friend, Tom Wyatt, has exhibited some lovely color photographs of reflections on various kinds of natural and human made surfaces. His metal prints of these subject materials are amazing to see, if you get the chance.
I recently received a Groupon deal by email for $5 metal prints that includes a limited time offer to share it for additional savings. If you’d like to take advantage, you can find the offer here.
Here is one of the images I uploaded for printing:
Here’s another uploaded image, an unusual effort for me, solarized color infrared:
Because I have no experiences with the seller, I can’t personally endorse them; but I have had positive experiences with other Groupon deals in the past. Be sure to let me know, if you take advantage, what you think when you see your prints; now that I’ve got some metal prints in the pipeline I will do the same once they arrive.
Imagery, and Information and Opinion About Photography