Playing with dead lilies this morning. A little iPhone fun. Roaming the house for a table the right height to stand in front of the linen shades for back light. Still unhappy with the color balance because it alters the soft lavender tones on the petals. No filters on this one. The composition doesn't come easy for me, but I am pleased with this. Tomorrow I'll try again with Fujifilm x100s and maybe break out the Nikon. #deadflowers#lilies#stargazer#lookingforlight#learningtosee
Trying my eye at dead flowers this morning. I've looked at so many beautiful images of flowers in all states of bloom and I want to be able to "see" them in a composition and learn how the light hits them. This is my first frame of my exploration and the next post will be my last. #deadflowers#lilies#stargazer#lookingforlight#learningtosee
Photography is a point of access for seeing perfection in what we perceive as mundane moments. Much of the world is explored so the greatest step in continuing to define those moments where we exist is re-finding exploration of the singular moment, the Now, the present place.
Photography does no more than mirror what is already there, but offers a view we don't always have the faculty to see.
It heals, helps, and guides.
It is painting with light, because within the light all is alive.
We wrap this study of learning to follow the visual path of a painting with Rembrandt’s Christ in the Storm on the Sea of Galilee (1668). I love how he uses light to put our focus on the storm before we see Jesus, giving a sense of dread. #ArtWednesday#VisualPath#LearningToSee
This Delacroix, Liberty Leading the People (1830), has a lot going on. This one is complex. Look at it and pay attention to the path your eye follows. It might be different for each person, but we all start at the same point. #ArtWednesday#VisualPath#LearningToSee
New York Movie (1939), by Edward Hopper, divides the frame in half. We’re drawn to the light, and see the usher first. Then the eye travels left and we see moviegoers enjoying a night out. A study in contrast between social and solitary. #ArtWednesday#VisualPath#LearningToSee
Many works like this Caravaggio, The Incredulity of St. Thomas (1601-02), lead our eye with concentric circles of information emanating from a focal point. A finger in a wound. Then hands. Then the faces of Jesus and Thomas & the others. #ArtWednesday#VisualPath#LearningToSee
This Winslow Homer painting, The Gulf Stream (1899), unfolds a narrative of danger. A man on a boat. The boat is broken. There must’ve been a storm. He’s stranded. Then we see the sharks. Or we see the sharks before the broken mast. #ArtWednesday#VisualPath#LearningToSee
In DaVinci’s The Last Supper (1495-98), our eyes begin in the middle with Jesus, and then we work side to side, taking in the groups along the way. To me, the group at the far right comes last because they are talking amongst themselves. #ArtWednesday#VisualPath#LearningToSee
Using composition to lead the eye allows the artist to tell a story in a single frame. We take in bits of information in sequence. How does Rembrandt lead you through The Return of the Prodigal Son (1669)? Where do you start? Finish? #ArtWednesday#VisualPath#LearningToSee
Often when we look at art, our eye follows a certain path intended by the artist. We look at paintings a bit at a time. Where does your eye start in this painting, The Reluctant Dragon, by my friend, @justingerardillustration? What’s the sequence? #ArtWednesday#VisualPath#LearningToSee