This collection started out to be a tight little introduction to what I've been up to as a photographer in the last 50-odd years, but I'm not finding that the selection is especially eloquent or representative of my approaches and aesthetic. The images are abstracted from the narrative context that runs in my mind, and if the exercise has been useful for anything, it's the realization that many of the things I photograph are (or become) elements of stories that I tell myself. Most of the nascent stories are never completed, but that doesn't worry me. It's a lot like my music --primarily for my own pleasure, though it's nice if others like the images/tunes too. Performance is not (usually) a part of what I do. My Flickr stream is a sketchbook of projects and enthusiasms which I'm happy to share with friends and like-minded others, but don't have much interest in promoting to broader audiences. Perhaps I've spent too many years trying to cajole reluctant students into engagement and curiosity...
I've often chosen the ultrawide perspective:
I've been exploring tesselation of images, generally to work out something implied in the original image, as in this Apotheosis of Chard:
Some of my pictures are clearly homage to other photographers:
and some are bits of enigma with no other referents:
And some simply filled the frame and announced that the shutter should be activated:
A fair number are in the realm of Moments Preserved:
I'm surprised to find that silhouettes recur:
Among extended projects was a year (1964-1965) as a progress photographer on a Boston skyscraper, which allowed me to photograph workers:
Two years in Sarawak (1965-1967) produced a lot of images:
...and I have a 40-year entanglement with photographs collected in Nova Scotia junk stores.
My engagement with food photography has been mostly iPhone snapshots, hundreds of them:
and of course a lot of my subjects have been family:
I thought I might gain from this exercise some sense of where I think I want to go with photography, but that resolution refuses to leave the shadows.
I'm content to study and admire the work of other photographers, past and present, and to continue to read and look,
and occasionally set forth to see what wants to be captured.