Another image from my recent auto repair garage shoot. I found the scaffold to be much more fun than the set up studio situation they had put together so I had a model climb up on it and took some shots. I knew her dress was short, but I had no idea how short until she was up there. I actually had to make her move her legs a number of times so I didn’t see her panties in the shot.
‘Long’
I manipulated this image quite a bit, just experimenting and playing with some perspective and warping tools to accentuate the legs that were already so obviously the center of the image.
From a shoot over the summer in a auto repair shop. I didn’t particularly like this in color and didn’t revisit it until November. I like the view from above in this one. It gives a combination of sexiness and dirty work that has the underlying question of what sort of work is dirty, is she the dirty one because of her outfit, or is the photo dirty, is the place dirty?
I worked at a restaurant named Eulipia in San Jose, California from 1981-1994 while I was going to graduate school and starting out as a college art instructor. I finally left when I moved to Tulsa to start a new career in Interactive Design.
This collage was a result of a photo shoot with three of my co-workers from the restaurant. We did the shoot in one of their backyards while they were sunbathing on a hot summer day. I had been creating a series of collages that used body part close ups combined with sky or other neutral colored backgrounds.
‘A Seldom Seen Stretch of the Eulipian River’
This collage resulted from having all the photos on my drawing board which was a large door actually attached to two drawing board bases. As I laid them out I started seeing a flow to the images. I originally had only one row, with the body below and the sky above. At that point it seemed like a landscape. But I had a lot of photos from the shoot and I laid out a second row to see if those photos might have a different rhythm and flow to them.
I got the idea to turn the top row over and the blue matched up and became a river in my mind. Then it was just a matter of finding the right place for each photo so the flow of the river was pleasing to my eye.
This page was filled with questions that I answered by using letter press letters (the old fashion way, before digital, of graphic designing text with fonts). The model and I were at the beach in Santa Cruz, California and I took close ups of her against a cliff to collage. These were from the proof sheet that was made of the shots.
Another weeklong series. This is from a book given to me way back in the 80s. It is called ‘Sketchbook with Voices’ and each page was blank for sketching. But at the top of each page was a statement, idea, assignment, or something else from an artist. I chose to make the sketchbook my photo sketchbook instead of my regular drawing sketchbook. I will post a page a day for the next week so you can see some of my faves from the series.
Another in my postcard series, #7 from our Colorado road trip in the summer of 2007. There was a great trail close to the home where we were staying and I took a hike on my own just for the purposes of photography. When I do something like that I often am not looking for a single shot (though I find those of course) but I am looking for pieces, for moments, etc. that will be part of the raw material for a collage. So in that case I am not worrying always about composition or lighting or a complete image. I am finding the essence of a place or a person and recording it.
In this case the trees had the knots in the shapes of eyes everywhere I turned, flowers were abundant and the creeks had the most amazing light playing on them. The final connection came for me when I saw this woman and her wonderful dog running on the path. The dog was protective and turned to scrutinize me, making sure I wasn’t a threat. The eyes of the dog were compelling and I loved the juxtaposition between the tree eyes and the real eyes.
