Regulus Blog

The bullet through the apple effect.

admin — Fri, 01 Apr 2011 23:57:26 +0000

This past week I was resting comfortably on my back porch with a cup of coffee thinking about the medium of photography and how it differs from other artistic mediums. That thought process lead into a specific appreciation of the camera and what it has to offer. These next few lines are in dedication to one such offering. Namely: the camera’s ability to freeze time. Before cameras existed (at least a camera that could shoot faster than 1/50th of a second) there were situations that we interacted with on a daily basis that we were wholly unable to fully appreciate because of the speed at which they moved. We cannot freeze water droplets in the air and examine what the liquid looks like without boundaries nor examine the pose of an acrobat as he is in mid flight to the ground. The camera gives us an intimate look at a world without time. That look – for a specimen bound to time and unable to understand living outside of it’s constraints – continues to astound me anytime I consider it. And so for that – I thank you dear camera.

Below is a small gallery of images exploring the concept mention above.

My camera was with me, so I used it.

admin — Thu, 10 Mar 2011 20:03:17 +0000

When I was in college I had a very influential instructor who try to instill often into his class the habit of carrying your camera with you everywhere. He showed us a slew of incredible images that had all come about unplanned. He just always had his camera with him, so whenever opportunity whistled his way he was ready. He also told us of the side benefit of this habitual action, that you (as the photographer) tend to photograph more often. Which if photography is your medium of choice – is a good thing. The more frequently you do anything the better you get at it. But that very true principle is not the

focus of today, what I really wanted to illuminate is the benefits of (as a photographer) always being ready.

So I took my instructors words of wisdom to heart and began trucking my camera around with me everywhere. Early on it was fairly easy because my camera equipment: my camera, was so small. I started out with a little Canon s1 power shot and it fit pretty nicely in a tiny little camera bag that was not hard to always have at my side. As time progress and my equipment grew in number and size, continually applying that rule became increasingly difficult. I found that more and more often I would leave my camera at home due to it’s bulky size and inconvenience. Looking back over the last couple of years and the photographs I’ve produce, there has undoubtedly been an effect in my work by this fact. Many opportunities were lost and many images that could have been made will now never be viewed because of this fact. As a photographer and as an artist I’ve come to two conclusions. One: this is not ideal, Two: that this problem is easily avoidable. Fairly recently I’ve gotten back in the habit and immediately a barrage of interesting images were created. My wife and I went of a bike ride two weeks ago and I probably create six or seven photographs that I was really pleased with. I know that for me and my life the more often I’m creating, the more fulfilled I am. So win win win win win, win. That last win was for you, because I like you (probably lots).

In addition to my newly resolved resolve, I made the cumbersomeness of my camera being omnipresent less of an issue. I have a specific camera bag I use just for day to day use that is fairly minute. It fits just my camera and possibly one other lens or a flash. I have a separate bag that I use for jobs that holds all my equipment. (Both are Domke in case your wondering.) The smaller bag enables me to take it on a bike, or a bus, or a submarine. Really anywhere I want to go, my camera can as well. The other change was to acquire a smaller lens for everyday use, so I now use a 50mm prime for day to day instead of my much heavier much larger 24-70mm L lens. Above are two images I shoot last week unexpectedly. Several of my brothers, my wife, and I were going out for a cup of coffee and there happened to be a seventeen piece jazz band playing at the venue. They were playing up against a partially fogged window which created some fairly interesting layers.

My camera was with me, so I used it.

Compositions in a Formulated Mannor

admin — Wed, 17 Nov 2010 18:01:11 +0000

I happen to be quite fond of of viewing other photographers works. Seeing there project and series, having a look at there thought process and what they have to put into an image. I especially enjoy viewing those who have gained a substantial level of respect from the general public ie – Annie Leibovitz, Arnold Newman, Irving Penn, Richard Avedon, ect. In viewing these different photographers works it’s interesting for me to find that each have a specific strength that makes there work worth viewing. Richard Avedon has been touted as one of the greatest communicators with his subjects. He gets in there and connects with the person he’s photographing and out of that connection makes photographs that have impacted our nation. He’s strength is that connection, now he’s good at other things like lighting, but lighting isn’t what he’s know for. (Normally his lighting set ups are fairly straight forward and un-elaborat). Annie Leibovitz on the other hand is know for her quality of lighting. That softness, the unreal permeation of quality that exudes out of her work. All this to say that in each photographer normally I see something that stands out and makes then unique.

In this past year I’ve had the enjoyment of becoming familiar with Arnold Newman’s work, and in that plunge have found what I believe to be one of the elements to his effectiveness. In viewing several of his published works I notice that he is quite purposeful in the relationship between the subject and the background. Often he position the one having his image made in such a way that what is behind him becomes a frame for his body or head to rest in. Almost a frame inside the image helping the viewer find the focal point. He doesn’t do this with every image, (and I think if he did it wouldn’t work, his photographs would come across as very formulaic) but when he does, he does it masterfully.

I think in viewing his work and how he used that technique of framing, my own images have started being shape with the tool. Often it isn’t even a consiouse desission, just how I see the image. I started viewing some photographs I had taken last week and ran across these two. Seeing my blatant use of framing to draw attention to the subject I realized how influencial Arnold Newman’s work as been on my own. That discovery reiterated the importance of viewing others work. In pursuing his body of images I gleaned another tool to help shape mine. This principle actually applies across the arts. I can view paintings or lithographs that inspire and plant artistic seeds inside of me that later turn into masterful works of foliage.

So, this splattering of words held two purposes for the day- to illuminate this tool in photography for any that had not considered it potential usefulness and to thus encourage it’s use, and to promote the viewing of the arts by artists. To seek out others works that differ from yours and challenge you, and cause you to think about the tools and concepts use to create what your viewing.

I would also encourage you -especially if your a photographer- to take a stroll throught some of Arnold Newman’s work. There is a fairly comprehensive gallery of his portraitur work posted online:

http://bit.l/9L9WRX

-Enjoy

Conceptions Realized

admin — Mon, 18 Oct 2010 20:52:55 +0000

This photograph entitled “Scribe” is one I took some months ago. A fairly simple image but it’s a good example of how I generally work. Over a year ago some Sunday morning while mindlessly investigating the scratches on my key ring I had a brief image fliter into my mind; a plan notebook, on a plan background, with a key covered in scratches held under a strap. I jotted a brief sketch of the idea in a small notebook I usually carry with me and then forgot about it. The seasons changed from a biting uncomfortable midwest winter to a warmer fray then back again. One evening in early spring a little over a year after logging my thought I had that creative itch crawling over my sleeves. The need to express and explore the evening in the artistic realm. I pulled out my book of notes, thumbed through a few pages of ideas (most either needed daylight, models, or more space than I had at the moment) and found my eyes upon the earlier years scrawl.

The concept was simple and the execution simpler.

A single umbrella on a stand lite by a wireless 430ex flash, a Manfrotto tripod stationed over the subject, and my Canon 50d mounted on top. I shot a couple frames and wasn’t really happy about the focus on the key. The scratches on the key was the focal point of the image but the focus was a little soft in that arena. So, using the 50d’s live view I zoomed in as far as I could and manually focus directly on the stratches. The next frame was it. A culmination of different parts coming together from over a year ago to that day. So, thats how I work. What I enjoy most is concept images or preconceived series. Usually written in one of my books that I carry with me, or on a napkin, or occasionally when need calls – the back of my hand.

I don’t trust my ideas to my memory.

The Starting Pistol

admin — Tue, 29 Jun 2010 14:44:10 +0000

be.gin.ning

1. An act or circumstance of entering upon a grand adventure in which

art is created, refined, critiqued, admired, criticized, crafted, scoffed at, and the like.

2. An irrelevant definition that does not fit my purposes so I won’t quote it here.

pur.pose

1. The reason for which something exists or is created i.e.: This site

sets out with the intention of presenting, docmenting, and explaining

the photographical works in progress of James Fry and Regulus Images.

(I hope you enjoy the exploits.)

-James Fry June 29, 2010