Five years in the rear view mirror, this series feels as if it were shot by someone else. Life has changed quite a lot. And in this spirit, this portfolio means quite a lot to me.
Stylistically, I describe my default mode of photography as vignettes. Whether on film or digital media, I don’t suppose my approach has changed. What has changed is the amount of time and effort I can put toward hunting these vignettes. That said, I don’t believe many people practice photography the way I do, (or did), so I wish the viewer to keep in mind that none of these images is the result of an automatic process.
Above: Temple Oseh Shalom, on Kodak 160 NC.
Below: Two shots titled Bronze Denizen, a level perspective and a torso, both shot on Kodak 100 and carefully toned to match the misty environment in which they were shot.
Below, three digital images: Thin Curtains, Snowstorm | Peabody Nocturne | Black-Eyed Susan Tied at Dock. These are the first images I edited to affect a similar sensitivity to film, using some odd methods.
Below: Stone & Stencil, originally a color film print whose detail is much better preserved in monochrome.
Below, three photographs that demonstrate the amazing color and light possible only when shooting at night on slow film, with a slow lens. They are The Haunting of Spring | Gothic Fanfare | Grace and Saint Peter’s, Evening. Each of these was shot on either Kodak 160 NC or 160 VC.
Below, a set of five black and white photographs shot on Kodak 100.
Above: Mount Vernon Hotel, Night | Railroad Detritus | White Wisteria | Wall, Brick and Ivy.
Below: Chained Tree
Below, a few landscape format vignettes. Landscape never fits the urban form as well as portrait, so for me, these are rare.
Above: Voyeur au Printemps | Afternoon Escape | Snow, Mt. Vernon Methodist
Below: Train Shed, Mount Royal Station
Below, Grapes in the Rain on Kodak 160 NC, and Rope and Ship on Kodak 400 NC. The former was photographed during a rain storm through centuries-old window glass.
Below, Washington Monument, Valentines Eve, a digital image with careful toning.
Below, two film photographs to close, the first of which may later return to its original form.