Thoughts on Photography

I am a photographer and musician. My visual work is greatly influenced by my past experience in the field of classical and jazz playing. Before entering the Hartt College of Music for my performance degree, I had begun teaching myself the Zone System of black and white photography created by Ansel Adams. Through this study, I found the performance of music and the visualization and making of a photographic print to be very closely related —each medium always contributing to the other. These dual disciplines helped me develop a pre-visualization of eye and ear, the result being an ever-growing ability to foresee the definitive moment in photography and "finding the groove” in music. It is to this place I seek to bring the viewer.

For many years I have been learning and practicing photography. I began with an 8 X 10 view camera and have worked my way through every format to finally reach the digital age. This is an everlasting quest, for the more advanced—visually or technically—that a photographic student may become, the more it becomes evident that there is still much more to learn and refine. And at this time in photographic development, it seems like a near impossible task to keep pace with the exploding evolution of new techniques, breakthroughs in technology and equipment design.

Some years ago, I had the privilege to meet J.J. Johnson, one of the most influential jazz musicians and highly regarded trombonists of the 20th century. I asked him, “How do you continue to sound so fresh and be so inventive after so many decades of playing?”  He answered, “I practice every day to improve.”  I was somewhat surprised at first, but then realized that I shouldn't have been. J.J. was a world recognized master player, improviser and composer in the jazz idiom, yet he was still striving to study and improve at the age of 72.  I thought that he was "there"  - he knew that there was still much more for him to do.

While I attended the Hartt College of Music, I played in an orchestra conducted by maestro Moshe Paranov on his 90th birthday. He was regarded as a foremost conductor and educator; and at his advancing age was still charged with energy and had a fountain of enthusiasm for the classical arts – much the same as J.J. Johnson was in jazz.  During a rehearsal one afternoon, he commented that with every passing year he had an increasing realization of all that he did not know and all there was still to learn.

So at my ripe old age of 57 and after 40-plus years of studying photography, I am still working at it. I will not think of myself as a photographic artist, but instead prefer the description of being a student of photography. My photographs shown on this site are merely the way that I see a very small portion of life on planet earth; they were made to reveal the beauty and character of familiar subjects and events. Take a moment to look at some easily passed-by common subjects — like those in your own neighborhood; enjoy the chance to see the beauty and character of the people, places and events common to every American community; then photographic them, and you will see so much more.

To view the very best in the photographic arts, I would like to recommend that you seek out the work of these photographers—Edward Weston, Paul Caponigro, Jack Dykinga, Robert Capa, Willard Clay, Eugene Smith, John Sexton, Walker Evans, Elliot Porter, Imogene Cunningham, Ansel Adams, Brassai—just a very few of so very many photographic artists who have come before us, giving us new vision, appreciation and understanding.

Weddings

Wedding photography is most successful when the photographer is thrilled by seeking and bringing to light the most special moments of this great celebration. It is an invitation to reveal the joy and love of the coming together of family and friends for one of the most exceptional of occasions. I look to capture special moments of joy and connection as seen through the celebrants. In general, this type of photography is termed the wedding photojournalist approach; the results of which could be a documentation of events, but in addition can also be a revealing of the human spirit.

Foods

Food is fun. That may not be news, but it pretty well describes most people’s relationship with, let’s say…. chocolate; or if you are Italian - a tomato.

In food photography, we are dealing with form, color, texture, presentation and the play of light and focus on an ephemeral subject. And then there is that quickly passing time - the photographer must work efficiently and quickly before the subject begins to look a bit weary and tired; much the same, as working with a beautiful model under hot lights.

Photographing people with food is especially interesting and rewarding, for just like a wedding photographer looking for special moments between the wedding party members; the food photographer looks for a connection between the food and the cook or perhaps the final destination – the eater. I discovered this while shooting the photographs for a book entitled  "The Providence and Rhode Island Cookbook" by Linda Beaulieu, published by Globe Pequot Press. Many times I saw that there was a special relationship with the food and the suppliers, preparers and diners.

So, should you have interest in food imagery, there are a number of models waiting for you now now in your refrigerator.  After all, look at what Edward Weston did with a pepper. And if by any chance you do not know this image, and would like to change your life with the push of a button, click here.

Musicians  

Having either studied, practiced, or performed music as a trombonist for some 44 years, I am easily able to recognize the defining moments of musicians’ performances.

There are certain times when musicians are able to connect to a place within themselves where their innermost thoughts, creativity, and understanding reside, a place that they have worked very hard for many years to be able to locate and go to at will. It is a workshop, a laboratory, a library – a place where new connections and discoveries will be made. For a musician to get a ticket to this place requires reflexive control of the instrument. This then gives the player the ability to experience absolute freedom of communication between vision, heart, soul, and ideas. Upon arriving at this place, the musician opens a door for the aware listener to enter and share that space for a brief time.

If you have ever heard the phrase “finding your groove,” that is precisely how and where you can find it.

As a photographer and musician, I listen and watch for when this door opens and then I visually portray the discoveries and connections of the performer via the camera.

From The Street -  yet to come

Nature - yet to come