Visual Touch

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My first foray into the medium of photography was in making close-up images, technically called “macro photography.” Growing up in a city, even in rather suburban-like Northeast Philly, I had access to limited nature. My interest in nature drove my image making anyway. Because of this, I had to find my inspiration in very small areas (square feet instead of square miles). A macro lens allowed me to make images within a field of view of inches. At that level of exploration, everything becomes interesting and new.

Since that time, the content of my images has expanded to include every scale of nature (wildlife, landscape, even the universe!). Now I live on a farm (very un-city like). And, I find myself looking to explore again at the macro level. I find that I can express as much in the space of a few inches as I can in a landscape depicting a few acres.

Images of the macro kind are made with the same thoughts and feelings as any other type of image. I still deal with experiences, metaphors, color, line, shape, texture, light — just in a smaller area.

Above is an example of an image I made a while ago at Longwood Gardens (just outside of Philly). It is a minimalistic piece with strong color. The color content is harmonious more than complementary. The yellow against the red is very powerful. Keeping the brighter yellow as a small part of the image, I feel, keeps the image balanced.

Just as you say that a body feels warm to the hand, so you might say that it feels red to what you see with” ~ Virgil C. Aldrich.

 

Artistic Growth

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Artistic growth. It is not something planned, it happens organically as experience and knowledge are gained. When I first started working with a camera, my primary intent was to record what I saw. It was a rather literal representation that guided my purpose.  I’ve been working with a camera for 40 years though and have long understood that photography is not just a literal medium. It is a selective, abstracting, very plastic medium when so desired.

When one looks at the world with artistic vision, with the need to express feeling, and personal values, the medium of expression is of little relevance. I find myself less interested in the typical photographic renderings based on sublime locations and extraordinary events. If an image elicits a response of “luck”, “right-place, right-time”, or “where did you get that?” I wonder if I am creating something personal enough. While, there are certainly times and places which drive me to make images, I hope that those images are more than recordings. I want them to be about something bigger than the content in the frame.

While any selective process has an element of personal meaning to it, I acknowledge that  my response to an event or place can be guided by a desire to impress others or for financial gain. As an artist who must live off the work he does, I accept that my motivation is from more than one thing. But also, as an artist, I have to create images consistent with what drove me to be a full time artist. Right now, that work is rather different than when I started, and even different than what I was creating 5 years ago. If I were still creating the same pictures that I was 30-40 years ago (or even five years ago), I would be stating that my life and experiences have led me nowhere new, that I have not grown, or changed in any way. And that would not be true.

Much of my new work is done on the 7 1/2 acres of farmland my artist wife and I own, or in my studio within the farmhouse. Here the aesthetic experiences are simple but no less profound. As in other locations where I have worked for many years, I see more deeply with increased submersion. On or near the farm, I have daily, seasonal, and yearly interaction with nature and it is here that my most authentic work is now done.

Home of the Weeping Cherry

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I am a big fan of Japanese woodblock prints, especially those relating to nature. The aesthetics of simplicity, muted color, and brilliant use of space (positive and negative), is very pleasing to me. Over the last several years, I have been conscious of my desire to work in a more minimalist style. One way in which I create in that style is with a long telephoto lens. With the narrow perspective and thin depth of field of a long lens I can isolate objects and compress elements within the composition.

This beautiful Weeping Cherry tree is one of my favorite features of our farm property and one which I go to each spring to experience anew. On this overcast April day, I watched a House Finch explore the tree’s bowing branches. The combination of pink flowers and rosy red of the House Finch create a harmonious combination. I composed for a bit of contrasting tonalities in the background and with sufficient negative space on the left to keep the image airy and light.

I like this new piece very much. It represents the direction my work has been heading now for a few years and which I am continuing to build upon. I made the print on a matte paper which maintains the subtlety of tones and softness of the light. It will be introduced this weekend in Timonium, Maryland as I tour with the Sugarloaf Craft Festival.

The finished piece titled House of the Weeping Cherry, is approximately 10×14, double-matted to 16×20 with all acid-free materials, and framed in white with UV-Protective, Reflection-control glass. The Edition is limited to 100 and is part of “The 100” Series, priced at $239.00 framed and $114.00 matted. Both are available at my gallery on-line HERE.

 

Thinking Spring

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It’s always exciting and fun to have a new project for a client. This current request for a four seasons collection had me considering works depicting spring trees. The image making process for me is always intense, so each trip through my collection of images brings back memories and emotions.

This image was made in Bucks County, PA early in the morning from a position where I could place the sun behind the early spring buds. Their rich colors were emphasized by the the back lighting, a polarizing filter, and contrast development in Lightroom.

It’s kind of nice to be thinking about spring on a cold, windy winter day.

The Making of “Opus 1”

Opus I

My approach to the medium of photography is as an artist. Because of this, I try not to have preconceived notions about how photography “should” be done and think instead only of the imagery I want to create. I do however work within the medium to create images that are best rendered as a photograph, not in a contrived way in order to make it look falsely like another medium.

My approach means that the images I create are conceived to be made primarily in the

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Film Projector Lens

field through the use of traditional photographic methods, i.e., camera and lens. For an impressionistic image like the one above (titled Opus 1), I used an old 120mm f1.9 Carl Zeiss Jena film projector lens which had been fitted with an adapter giving it an M42 mount. With that mount, I was able to then add an additional adapter to allow it’s use on a Fuji digital interchangeable lens camera.

As a film projector lens, it has no focusing mechanism, no aperture control, and no way to communicate with the camera. The M42 adapter on the lens has a built in helicoid which allows me to “focus” it buy turning the lens and causing it to be closer to or further away from the camera sensor. With no aperture, the lens is only usable at it’s f1.9 rating. This large aperture means lots of light gets in and  depth of field is very thin. But for me that’s the whole point of using this big, hazy, scratched, and fungus growing, chunk of glass.

The lens is a beast and unruly on a camera, but I feel the rendering matches my aesthetic very well. As I continue to develop a view of the world which is more impressionistic, I find myself wanting to use this lens more and more. For the image above, I had been struggling with modern traditional lenses to isolate flowers in this meadow and simplify the background. The fall off of focus with this projector lens is very sudden and creates a unique type of bokeh that I have not achieved with any other lens.

Many people think that Opus 1 is a painting. I inform viewers that it is in fact a photograph, but one done in a painterly style. By painterly I do not mean the use of artificial brush strokes, but rather an emphasis on color and form instead of linear definition.

 

Listening

Opus IOne of the most rewarding aspects about doing art festivals and fairs is the interaction I get to have with the buyers of my work. These interactions both provide me the satisfaction I seek as an artist and idea’s for how to progress with my art. Sometimes I get requests to print a particular image in a size, or in a way which I hadn’t initially intended.

I listen carefully to these requests and if I think the image will work in the form requested and I believe that the customer will be happy with the result, I will comply. Recently, I have received requests for several images which I offer as prints to be done on canvas in sizes ranging from 15×15 to 20×30.  I hadn’t intended to have these works represented on canvas, nor in the sizes which were requested. But I listen carefully to requests and have come to trust that clients often see a presentation of an image that will be wonderful. Usually I can visualize their request and recognize that their ideas are great. Other times I need to see the finished piece before I am fully convinced.

If a request would take a work in a different direction than I intended, or require an alteration to the piece which I do not feel is consistent with my vision, I will just decline the offer. This occurrence is rare however. Mostly, the requests I receive are for a different substrate for the print (e.g., canvas instead of photographic paper), or a different size (e.g., 20×30 instead of 11×14). If I introduce a piece in which I intend only one representation, then I also have to decline special requests. Often however, I will introduce a new piece with flexibility regarding it’s edition composition and so can accommodate special requests. In these cases, I get to listen. And almost always, I like what I hear.

As an example, I recently introduced a new image which I titled Opus I. I printed this impressionistic and somewhat experimental piece as a 9.75″ x 13.75″ on a matte surface paper, matted to 16×20. I am now fulfilling requests made by two customers, one for a 16×24 canvas, the other a 20×30 canvas. Having just finished wrapping these pieces to ship, I can say with certainty that these two requests were well considered. The result was beyond my expectations. These two customers recognized that a larger presentation would bring forth the qualities of this image that pleased me most.

Opus I was made with a lens I am using for a series of botanicals. The lens is actually meant to be used on a projector, not a camera, but was adapted to work with a modern digital camera. I have been wanting to do more impressionistic works and this odd, heavy piece of glass has become one of my tools.

 

Pictures and Tears

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Summer Breeze  (c) 2016  Paul Grecian

 

More than once I have had people cry when looking at one of my images. I have always felt that an emotional response to art work of any kind was a wonderful thing. I’ve had similar response to movies and even while reading, but never to a painting, photograph, or sculpture. I was fascinated to find that art historian James Elkins had actually examined the subject of crying in front of artwork in a book he titled Pictures and Tears (Toutledge, 2001).

In his book, Elkins writes, “Paintings repay the attention they are given”, “the more you look, the more you feel”. I like this notion and suspect that it is true. But how often do we actually spend time looking at one particular picture?

At a show this past summer, a woman came into my booth and then left. A little while later she returned to buy a canvas giclee of mine — Summer Breeze. She told me that when she left my booth thinking about this picture, she began to cry. She had to come back and purchase the piece. She told me that she didn’t know why she responded the way she did.

“Crying is often a mystery, and for that matter so is not crying” writes Elkins. I am still working through the book, I’m finding it fascinating. I don’t expect to find any ultimate answers as to why certain people respond with tears to certain art works. I am humbled however, that I have made pictures which have elicited such a response.

Summer Breeze is available on my gallery online HERE

 

Listening to the Audience

At a recent art festival in Virginia, I met Judy. She entered my booth and was drawn to a canvas giclee that I had made of an image of grasses. The image is part of a series I began last summer using antique lenses adapted to new cameras. It is a very etherial series and one that speaks to my aesthetic. Judy was also drawn to a framed print from the same series which hung on my display walls. It was a picture of a meadow of daisies (titled appropriately — Daisy Meadow) rendered softly against late-day light and also made with one of my antique lenses. Daisy Meadow was the piece she wanted and she wanted it as a large canvas.

I took her order and as soon as I returned to my studio, began working on the new canvas image. I hadn’t had this piece done on canvas before but thought it would work well. In fact, I think this new series I’m doing lends itself exceptionally well to larger canvas giclees. Still, I was very pleased when she wrote to me after receiving her artwork. She told me, “it is absolutely the most beautiful picture!!!! I love it!.” In a follow up email, Judy speaks to the piece having “so much depth.” The picture is “soft and inviting,” she added.

I always listen to the people who purchase my work, they are my best source of feedback. From them I get insight into my work and even the business of selling art. It is the interaction with collectors that makes being a full time artist most fulfilling.

Daisy Meadow can be purchased as an art print or canvas giclee directly from my on-line gallery – here

Daisy Meadow

Why Artists Create

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A Ripple, A Blade of Grass

Knowing why we do something can give us insight into what we are doing presently and motivate our choices going forward. I came across one explanation of why artists create the work they do which I find apropos. Artists, it is suggested, create works that help them fill in for something that is missing in their lives. I can see that explanation of motivation being true with certain works I make.  There have been times when I felt the need for more beauty, peacefulness, or simplicity around me. There are many stressors in life, and creating imagery that balances those stressors by emphasizing peace and simplicity seems like a logical explanation. These works then are expressions of that desire.

One piece that I come back to often when feeling a desire to unwind is titled A Ripple, A Blade of Grass. It is an image of grasses reflected in pond water in Acadia National Park . A minimalist image, it really only consists of lines against a monochromatic background. I find it both soothing and engaging though. The simplicity of it is calming, yet there are lines that create triangles (due to the grasses reflection in the water), a shape that imparts a sense of action. Also, the ripples in the water have created zig-zag patterns that serve as visual contrast to the straight lines and add a sense of tension through the implied motion. I applied a sepia tonality to the piece to lower the visual harshness of a stark black and white.

This type of imagery is not easy to make because as a result of it being minimalist, every element that is included becomes more important to the piece. Finding the right balance in a minimalist work is part of the challenge however, and for that I am often working from a gut feeling.

 

 

Art Beyond Aesthetics

I’m currently reading two books on aesthetics which I find fascinating. I’m still at the beginnings of both books but already they have me contemplating the “why” of art more deeply. As an artist I create from a relish for nature, a relish for beauty, a relish for life. It is a consciousness raising experience and one that lifts my humanity. I respond to natural beauty through aesthetic experience and translate that into my own interpretation, striving to create something beautiful in itself. When I respond to a field of grass aesthetically, I’m not trying to recreate that field. What I am doing is trying to relate my unique aesthetic experience of that field to a viewer so that they may feel about it the way I did.

If I am successful with my creation then I have affected some response in the viewer which raises their consciousness and relish for life as well.

Original giclee prints of my work may be purchased directly from my website http://www.paulgrecianphoto.com

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Daisy Meadow – (c) 2016 Paul Grecian