Lights of a passing train, mixed with the reflection of the inside of another train.
Tuesday, July 31, 2007
Monday, July 30, 2007
Saturday, July 28, 2007
Friday, July 27, 2007
Millennium Birthday
Thursday, July 26, 2007
Wednesday, July 25, 2007
Tuesday, July 24, 2007
Monday, July 23, 2007
Saturday, July 21, 2007
Friday, July 20, 2007
Another Delicious Lomograph, I mean Lunch
Thursday, July 19, 2007
Wednesday, July 18, 2007
Tuesday, July 17, 2007
Worst. Seats. Ever.
After all of my years going to see the Chicago Cubs, I have to say we sat in the worst seats I have ever been in. Plus, it was in the mid 90's, humid, and no breeze. In the best Comic Book Guy voice, 'Worst. Seats. Ever.'
Monday, July 16, 2007
Down on the Blueberry Farm
Saturday, July 14, 2007
Friday, July 13, 2007
Thursday, July 12, 2007
Rush to the Train
Wednesday, July 11, 2007
Tuesday, July 10, 2007
Monday, July 9, 2007
Colors in the Storm
Sunday, July 8, 2007
Another Day, Another Squirrel Hunt
Saturday, July 7, 2007
Teal House
Friday, July 6, 2007
Thursday, July 5, 2007
Through Jackson Canyon
This series is from my daily walk up Jackson to Union Station. More and more, I think of it as a hike through a narrow canyon. All photos are from the hip.




This last image shows the concrete barriers placed in response to the attacks at Glasgow and London airports. Seeing this, the fantasy of the canyon is over.




This last image shows the concrete barriers placed in response to the attacks at Glasgow and London airports. Seeing this, the fantasy of the canyon is over.
Wednesday, July 4, 2007
Tuesday, July 3, 2007
The Problem of the Lomograph
With the camera malfunction in Toronto and presenting at the conference, I took the downtime to reflect on this project.
My original concept was to shoot photos every day; don't think, just shoot. It seemed shooting at least a photo a day would be the hardest part, but since I have the camera almost everywhere I go, it has been quite simple. By far the most difficult part of this project is to not think. The impetus to take a photo comes from seeing a photographic moment. I react, reach for the camera, and shoot. Granted I do not carefully compose the images, but typically I have a good sense of what the composition will look like. I blame my years as a cinematographer for that. Setting the camera up on a tripod, and knowing how the angle will look is part of the cinematic process. Looking through the lens once the camera is set becomes a formality, primarily to block action, dress the set, adjust lighting, and check for distracting compositional elements. Composition is already there.
So the question becomes, how can a photographer make a true lomograph if you constantly think like a photographer. Self-awareness is inherent in the process, and you can only hope that the accident outweighs your own photographic tendencies.
In reviewing the photos on this blog, I see how my instincts tend toward shape and light. A great deal of my other photographs use both to create an image of texture and dramatic impact. Here, the angles are more pronounced, and the limited lighting contrast from the camera frequently changes the use of light into a graphical element. I have always been strongly affected by a graphical sensibility, but now lighting is transformed into that.
So this blog will move forward with the question, when is a lomograph not a lomograph. The name may end up transforming into The Daily Photograph.
My original concept was to shoot photos every day; don't think, just shoot. It seemed shooting at least a photo a day would be the hardest part, but since I have the camera almost everywhere I go, it has been quite simple. By far the most difficult part of this project is to not think. The impetus to take a photo comes from seeing a photographic moment. I react, reach for the camera, and shoot. Granted I do not carefully compose the images, but typically I have a good sense of what the composition will look like. I blame my years as a cinematographer for that. Setting the camera up on a tripod, and knowing how the angle will look is part of the cinematic process. Looking through the lens once the camera is set becomes a formality, primarily to block action, dress the set, adjust lighting, and check for distracting compositional elements. Composition is already there.
So the question becomes, how can a photographer make a true lomograph if you constantly think like a photographer. Self-awareness is inherent in the process, and you can only hope that the accident outweighs your own photographic tendencies.
In reviewing the photos on this blog, I see how my instincts tend toward shape and light. A great deal of my other photographs use both to create an image of texture and dramatic impact. Here, the angles are more pronounced, and the limited lighting contrast from the camera frequently changes the use of light into a graphical element. I have always been strongly affected by a graphical sensibility, but now lighting is transformed into that.
So this blog will move forward with the question, when is a lomograph not a lomograph. The name may end up transforming into The Daily Photograph.
Toronto
Subscribe to:
Comments (Atom)




























