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There-ness: Compelling Presence

“The subject a photo may powerfully assert its presence like gut punch for its obvious emotional content, or out of nowhere, for no apparent reason. Jarring viewer reactions such as, “WHAT THE..??!!” or “HUH?” or “WHY? will tell you why I stopped in my tracks, maybe confused, or heartbroken, or deeply serene; knowing its presence will be burned in my mind, why not make it a picture, too?

Here are some examples, some of which I can explain, some I can’t (Frankly, I prefer the inexplicable ones best.)”

On a humid summer afternoon, the sky darkened and rumbled over this freshly painted white barn. Proud and defiant, its timeless design reminded me of the Parthenon, pointing right back at the threatening sky, daring it. Standing in an open field to make this photograph felt risky to me, but the barn wasn't worried.

"Storm Clouds"

On a humid summer afternoon, the sky darkened and rumbled over this freshly painted white barn. Proud and defiant, its timeless design reminded me of the Parthenon, pointing right back at the threatening sky, daring it. Standing in an open field to make this photograph felt risky to me, but the barn wasn’t worried.

"Green Window"

Color can be the ‘star’ of a picture if not in competition with other elements. The soft green light begs curiosity about the what’s behind the weathered brick wall, which separates two interior spaces. The cylindrical objects on the floor contrast with the square window, whose gentle brick arch feels reverential. Nevertheless, they may add to much clutter. Should I crop up from the bottom to cut them in half? It’s a work in progress…
A closeup presumes your willingness to be boldly approached. There is no invitation. The spiky tines might make you reflexively blink but look closely at the scratches and fingerprints. Can you hear the chingling of silverware being clutched in handfuls to be and laid on tables, or gathered in bunches to drop into a sink? In the color version of this picture, the felt background is garish blood red, This would have asserted too much of its own presence and distracted from the fine surface details.

"Silverware"

A closeup presumes your willingness to be boldly approached. There is no invitation. The spiky tines might make you reflexively blink but look closely at the scratches and fingerprints. Can you hear the chingling of silverware being clutched in handfuls to be and laid on tables, or gathered in bunches to drop into a sink? In the color version of this picture, the felt background is garish blood red, This would have asserted too much of its own presence and distracted from the fine surface details.

"Regret"

The jagged contour that separates the sky’s reflection from floating debris seems a surreal construct, though it’s just a result of prevailing wind plowing litter, and rippling surface water. Sublime and revolting share an uneasy border. This photo had to be in color. The bronze luster of the bottles, a shabby adornment, suggests water more contaminated than we want to know. Only the clouds seem safe here.

"Attic"

This attic is above an old horse barn on an estate in northern New Hampshire. Enclosure focuses senses – on quiet, or on murmured history; on the scents of an earlier atmosphere; on altered memories. Sometimes holding your breath helps you listen… As an observer, there is scant choice in resolving mystery to truth. You must sit with the story that is withheld from you. You have only light and tangible objects for table settings. Tuck in.

"50"

Script – written words and numbers – cross boundaries in imagery. Our brains have to recruit disparate cognitive neighbors and make them sit in the same small room . Twentieth century art set script free on canvas, and there has been no looking back. On this abandoned golf driving range, the 50-yard marker is barely hanging on. Big and red doesn’t matter anymore, but I let it retain some dignity as I desaturated the color of the rest of the image, a last stab at ‘script-object’ integrity. The more distant markers gave up their bilingual ghosts, and have gone silent.

"Cornered"

Crowded back by the corner of an imposing structure, one is lucky for breathing room. The vines draped organically over tightly packed stones belie their own steely grip. Nothing inside this frame is moveable – only the viewer can escape.

"Bedroom"

Sometimes the backstory should remain concealed, just behind the image, so it can push light and shadow at you. Then, the imagined narrative becomes the presence, a ghost in the picture.