Photo Dialogue

AERIAS

2012-02-11T09:27:00.000-04:00

John Griebsch

Balancing abstraction with realism, John Griebsch's artistry depicts familiar landscapes from another perspective. The results are strikingly beautiful views of the earth from above:

"My series of aerial photographs shows grand scale, fine details and often a painterly sense of composition. I work with ambiguity of scale and the strong graphic quality of nature, and with the hand of man on nature."

"While the images present a sense of selective design applied to an extremely small but significant area of the vast landscape over which I fly, I find the need to make geographical sense of the earth, as well as to make visual sense of the photograph."

"The work has been exhibited in numerous solo and group shows; was awarded recognition in 2011 in the Palm Springs, California exhibition Earth Through a Lens; and resides in a host of corporate and private USA collections."

There are many more fascinating views in 'The Art of Aerial Photography' and the entire portfolio is available for browsing online at JohnGriebsch.com

Cover Shot

2012-01-15T22:01:00.003-04:00

Swimming in Paradise by Floris van Breugel

Floris is a part-time nature photographer currently in American Samoa, where this first picture was made on the remote island of Ofu. We're looking forward to more gems in the series from his journal Art in Nature Photography , especially if they match the wizardry of this composition.

Gwangju

2011-12-04T19:52:00.001-04:00

South Korea

Traveling photographer Justin Lagace has a way with words and pictures,
thousands of them it seems, from his visits around the world:

Gwangju isn't a world renowned city, nor is it a usual destination for travelers. It's South Korea's 6th largest city near the southwest edge of the Korean peninsula, situated among gorgeous forested mountains. Between the great food, the scenic surroundings, and a pedestrian-oriented downtown, I don't have a bad thing to say about Gwangju.

Enjoy this vivid gallery, lively presentation and much more at JustinLagace.com

Cover Shot

2011-11-22T08:36:00.000-04:00

Water & Ice 2011 by 3irdphoto

The sheer beauty of this winter album leaves most people speechless. For someone who re-started in 2009, Jan's artistic eye is acute and his rendering of the images is sublime. There is no Caribbean winter and I imagine that even if there was, I'd be fascinated to know the positions taken to acquire these magical views.

Night Lights

2011-06-13T11:48:00.019-04:00

While much easier to say than do, making pictures of night scenes can reveal a beauty that's hidden in the daytime. The major challenge of course is the technical one of which camera settings to use when and why? Research this yourself and although you may find the options confusing, one thing is certain. Any experiments will be worth the effort.

My venture began with city views of Bridgetown near Trafalgar Square. To artfully feature the late evening canal reflections was my goal and hopefully, these pictures have met with some success.

While cropping and processing styles vary widely in the forums, this is my idea of a fairly well balanced composition. Some may be concerned about the over-exposed highlights, which I'll be sure to avoid next time. Here's some advice on camera settings by the SLR Photography Guide.

Cover Shot

2011-06-12T08:01:00.000-04:00

Our cover this month comes from a theme gallery portraying fishing boats and sailing boats, old wrecks and old rope, see-through nets and beautiful artistic reflections hosted on jAlbum.net: "J'aime capter le détail, le reflet, la couleur, l'ombre... plein de petites choses qui me permettent de créer mes albums, que j'ai plaisir à partager avec chacun de vous." Brigitte

Bateaux by Morceaux D'images

Butterflies

2010-09-19T13:18:00.047-04:00

Malachite

Nature photography is an arduous pursuit that frames beauty 'in situ' and since Claude Fletcher's inclusive style of writing complements such a vivid portfolio, we invited this monograph on the album Butterflies:

"Strangely enough my interest in butterflies started on a birding field trip. The birds weren't being very cooperative that morning and would not show themselves so while we waited, some members of the group began to identify the numerous butterflies that were flitting around.

As words like 'malachite' and 'fritillary' floated about, it struck me that observing, identifying and photographing these beauties was a worthwhile endeavour, so I set out to learn as much as I could about these beautiful but elusive creatures. The next day I bought a book to help me identify the various species and learn something about their habits and range and soon I was shooting Buckeyes and Cabbage butterflies in my garden. It soon became a weekly ritual for me to try and capture some of the rare species coming from nearby forests."

Zebra

"Since I have moved from Jamaica to St. Vincent, my interest in photographing butterflies has continued to grow, even though there is not the wide variety that I have grown accustomed to. However I have acquired a macro lens and found that with practice, patience, slow and steady moves, most butterflies will allow a close approach to enable better detailed shots than when I used a 300mm lens to capture them from further away.

My walls are covered with framed prints of some of my favourite shots and I have sold some and made presents of others to grateful friends and family. Now I look back fondly to that failed birding trip and celebrate the day my interest in butterflies was piqued."

By Claude Fletcher for Photo Dialogue

Cover Shot

2010-09-09T08:02:00.009-04:00

Sardinien by Marcello Ritti
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Denis Darzacq

2010-01-17T10:37:00.002-04:00

"Denis Darzacq is drawn to the contradictions he sees, or would like to see, in everyday life. Indeed his past series have reflected this — bold naked people walking through bland and conformist suburban housing estates, groups of immigrants in the classic and serene poses found in French masterpieces, French youths appearing mid-flight or mid-fall in bleak, unpopulated urban landscapes." Excerpt from Lens Culture

When I saw these pictures, I did not recognise them as being familiar but understood them in my own way as people in two worlds at once. The subjects are plain human beings, the scenery is everyday but the question appeals to the philosopher's mind. What Denis Darzacq intended, only he can say:

No.1. From the series Hyper

Darzacq: These two worlds as you call them, they are like the difference between 'being' and 'having'. I remember when I was young, my father's advice on how to be a man. He stressed the importance of meaning versus materialism. But when you are young, for all you know to be is to have.

No.2. From the series Hyper

How did you arrange these photos?

Darzacq: Some dancers were asked to materialise this paradox, this contradiction, using fake movements (poses) but portraying a state of freedom or lightness, like a breeze. For me, images are stronger when they have more than one meaning: Flying and Freedom / Escape from Materialism...

No.3. From the series Hyper

Could that be a hint of what to expect in your next compositions?

"Yes, I am going to prepare some new work featuring the questions of Environment vs. People and Figure vs. Landscape very soon."

We're looking forward to that. Thank you and good luck with your upcoming and current exhibition at the Laurence Miller Gallery in New York. >>>

Benjamin Jaffe

2009-10-11T23:06:00.005-04:00

Artist Statement

"I am particularly interested in the temporal existence that we are all passing through. Huge glass and steel or concrete and granite structures seem to be permanent yet when we look at the ancient pyramids or ruins from previous civilizations we realize that even the sturdiest of constructions can only sustain so much before crumbling to the elements of time."

"I have attempted to capture this feeling by showing modern ruins as if stumbled upon by some future intrepid voyager. These images are an attempt to understand our place in the universe as well as human behavior.

The full spectrum of social debate can be argued, but I am actually attempting to communicate something on a more spiritual level. The subject to me is not just about our environment, it is about human beings; What we subject one another to,what we are capable of withstanding, and finally what we leave behind." - Benjamin Jaffe (Courtesy of Art Slant.com).

PD: In a didactic context this is Realism perhaps, with photography as the tool for the purpose of your art: depicting the real world and its possibilities; the stark, side-by-side details of "what-is" and "what-if".

While some might label these works apocalyptic, your Artist Statement suggests a more subtle reading. Help us to understand your process of collecting elements, building pictorial 'phrases' and composing the intended graphic message.

Benjamin: I would hesitate to classify my work as realism in the sense that these images, as they appear in my finished work at least, do not actually exist outside of my own imagination. However they do represent reality as I perceive it, or in other words I attempt to tell a story or to depict a real sense of a place in a single image. My images have in all honesty been labeled ‘apocalyptic’ in almost every press commentary. But is that really an art style? If so then I would have to say apocalypse now, for all of these images were taken in the last few years, they do exist if only in pieces today.

I do understand where this definition derives from. The places on my canvas seem too desolate to exist, yet they do. So I guess my only problem with that label is that it implies a future that has not yet arrived, but in fact it has. I don’t want to come off too pessimistic about the fate of mankind. Underneath all of my work is a sense of wonder in what human beings create. In the magic that we feel standing at the foot of a Mayan Pyramid both of these thoughts enter our minds at the same time: First we are amazed at the shear magnitude and magnificence of what was created so long ago, but concurrently we wonder what went so terribly wrong that it all vanished so mysteriously.

I am filled with those same questions when I stand amongst the crumbling ruins of today: Who made this? Where did they go? Why did they leave this behind? These questions come from being the son of a research scientist. My father instilled an indomitable sense of curiosity in me from a young age. The world of Science is in fact very close to the world of Art though most in each field would argue differently.

They are both methods that we use to explain our environment and answer the difficult questions.

PD: Bill Jay (1940-2009) in Titles and Trends wrote comprehensively about the utility and purpose of captions, from being simple documentation to becoming part of the expression of meaning in a photograph. What does "Beyond People" refer us to?

Benjamin:
Having been a child of the 60’s I was raised in that category Bill Jay referred to as the “Untitled” generation. It was an era filled with revolutionary concepts in the Art world; Conceptual Art was coming into it’s own, Abstraction was in its golden era, and my own generation created Punk and Hip Hop which both seemed to give the finger to all rules especially those of the establishment. But while I respect the abstract artist who wants each viewer to see something personal in the work, or even the conceptual artist who feels that the interaction of the audience is part of the work itself, I tend to fall into the more romantic group of poets.

My inspiration on this matter is fellow Chicago Artist Ivan Albright, who believed that the title was a chance to write a poem and hopefully a poem that would gain the viewer some insight into his intentions as auteur.
I often give two parts to my titles: first the real title or poem, followed by a description of the main subject. In the piece that you have chosen (BP – Beyond People). The title is a play on words. I created this piece for a show at the Framing Mode Art Gallery in Chicago that had a Political Theme:

British Petroleum had convinced the politicians in Indiana to raise the level of toxins that they could dump into Lake Michigan. Chicago and much of Wisconsin and Michigan exploded with a grass roots rage at the notion that one state could unilaterally ruin our shared Lake. It was a coincidence that I was working on this piece at the time but I always try to let the muse speak to me and in this case she was shouting! The location of this artwork is the British Petroleum retaining tanks along the Chicago Canal. It just so happens that it is directly adjacent to a Park, and the green muck in the foreground is actually in the park.

When I saw the advertisement proclaiming “BP Beyond Petroleum” I thought yeah right more like Beyond People!

PD: So far your scenarios of our future do not picture us (humanity) directly. When will people be featured in your metaphysical style of painting?

Benjamin: I recently did a piece for a photography show that required all participants to shoot their 24 images on the same day within 24 hours. I started in my old neighborhood and decided to make the nightclub 'The Double Door' my focus.

Detail of When You're In....." showing the chalkboard
I noticed by the front door a chalkboard proclaiming "Once you're in, you're in. Once you're out, you're out. The statement was referring to the patrons going in and out of the club but I saw it as a cynical statement about success and popularity.

Later, I photographed a homeless"can man" by the name of Willem - I felt the two subjects [would go] well together, especially with the chalkboard title. My only problem was the word 'Once' as I felt it had a permanent connotation regarding my subject that made me uncomfortable.So the final version reads "When you're in you're in. When you're out you're out." The new title is a commentary on homelessness and the callousness with which we treat one another.

'When you're in, you're in. When you're out, you're out.' - Willem outside the Double Door

'What will grow crooked cannot be made straight.' - Junior outside Alice's Barb

Benjamin: This image was my first attempt to place a human subject into one of my decaying urban environments. Junior is a panhandler who has a very jovial personality. I placed him outside Alice's Barbq which has been on 43rd street for almost three decades and is an example of the real Southside Chicago flavor that I've been trying to capture.

PD: This one has an air of hopefulness Benjamin, as if to say "life will be what we will make it".

I look forward to more exhibitions and discussions here on Photo Dialogue. >>>

Risée Chaderton

2009-08-25T10:12:00.007-04:00

Risée Chaderton’s gallery at first look appears eclectic and widely inspired, drawing on a variety of composition skills and production techniques. In reality, Risée is driven by a desire to share her range of perspectives with a growing audience in Barbados and abroad.

PD: There is often some tension in the depiction of your subjects. Whether it’s the deep contrasts of colour and light or acute perspectives or steamy composition, such dramatic portrayal seems to represent your passion expressed through photography.

Risée: I am always pleased when people see as much passion in my images as I pour into making them. I like to communicate, it is a large part of my personality. Life itself is a conversation and sometimes you are an active participant, sometimes you're the fly on the wall. Through photography I like to make my viewers into that fly on the wall, voyeurs if you will, to the conversation.

PD: “All the world’s a stage..” goes the famous quote, and I’m struck by your Josephine Baker reprise.

Tell us about the passion in producing these and other works. Are you the art director as well?
Risée: I am also art director although I've never given that title much thought. I have a vision and I pursue that vision and see it through. Often, because I work with ordinary people more often than professional models, I'll resort to humor and toddler level silliness to elicit the reaction I want.
I'm not above acting out to get my way.

PD: Quite successfully too, as shown in your tutorial on YouTube
(Wedding Photo-Journalist).

PD: So much for "ordinary people" by the way. You clearly have an eye for latent character, and the right scenario for revealing it in every personality.

Risée: A wonderful woman, serene and beautiful, when I saw her I was immediately struck by how much she reminded me of a queen, the strength of Hatshepsut and the poise and beauty of Nefer Nefru Aten Nefertiti.

"I will admit that being interviewed is difficult for me, photography feels intuitive, something that extends from me like a series of deep breaths and in turn I breathe the character of my subject to be expelled again in the images I produce."

Let me close with a view to the future if I may. What's next for Risée Chaderton?"

"I continue to evolve and that evolution leads me to new people and new opportunities, no one can speak of the future in concrete terms but I can assure you that my future includes learning and growth". >>>

Shooting for the gallery

2009-08-02T20:31:00.005-04:00

In 2007, Popular Photography featured this work by a lady who's equally influenced by the classic painters of the 1600s and 21st century camera technology. An architect by profession, Emanuella Carratoni has devised a method for still life photography that honours the 'chiaroscuro' style of artists like Caravaggio (see an example here).
In the October 2007 issue of Popular Photography she writes "I set the smallest aperture (f/22) on my... 18-55mm lens, the lowest ISO possible (ISO 100) and a shutter speed of 15 seconds".

To see more of Ms. Carratoni's work please visit "Light Painting"

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Brian Beeghly

2009-03-25T10:04:00.004-04:00

Brian's distinctive landscapes owe something to the skill and timing of his compositions though he won't admit conscious artistry in his portfolio so far:

"Honestly, I'm still in the discovery phase of all that. I'm not sure I am an artist in the sense of someone who sees the world in a particular way. But I do have a pretty good idea of what I like and don't like, what I start to see when I have the camera around my neck."

PD: You seem driven to capture the epic landscape and wildlife scenery of Colorado and by the looks of it, you've been quite successful. What gets you out there, what keeps you looking for more?

Brian: Honestly I'd be out there even if I didn't have a camera. What led me to buy a real camera recently is I found myself in the last year very seriously taking shots with my 1.2 megapixel cellphone. I just love the big spaces, pure air, silence, great light. I'm one of those weirdos who's never completely happy inside. I feel like the great outdoors completes me in some way I can't articulate. And when I'm somewhere I've never seen before, its especially exciting.

Colorado is one of those places on Earth where there are few ordinary scenes, every angle is a vista almost too large for the eye to see at once. As a photographer, how do you select your compositions from all the possibilities before you?

"I feel compelled to seek out some kind of form that reflects wholeness, is how I'd put it. The frustrating thing about shooting landscapes is it's very difficult to not get chaotic compositions unless you're really concentrating. Nature simply doesn't organise itself in that way. So there's the contradiction - you feel like a million bucks, you feel whole, like you're surrounded by a total holiness but everywhere you look, you're picking through chaos. So I feel driven to find forms I guess, to bridge that gap."

The intro shot Canyonlands NP (Island in the Sky) may be a good reference here. It's beautifully composed and dramatically lit. Tell us about the effort on that day.

"Well, I probably took about 3 minutes after coming upon that incredible fog-filled overlook. So one is still in a state of awe of sorts, so I'm not sure how left-brained and rational my effort was. The pictures I take that end up pleasing me usually originate in a kind of right-brained feeling, like an invisible rightness I feel when coming on a composition."
"I suppose on that one, it was just the simplicity of the form - the way the slope of the foreground and the slope of the mountain in the fog crossed each other. I can't take any credit for the great light of course. It's that great, high-desert morning light."

You've done two "Great Sand Dunes" studies, one featuring the geology itself and the other including some Buck Deer. Are you a naturalist at heart?

"I suppose you could say that, though I'm afraid my scientific knowledge is pretty minimal. For me it's more intuitive than that. I just love being in those places that seem formed by something greater than rational. Also there's an uncanny aspect to encountering wildlife - they sense you, you sense them - you feel each other in some way. I've really enjoyed that."

And what's next for you Brian, for your photography?

"I know I'll continue to seek out these great places in the West and I've found adding an expressive dimension in photography really adds to the experience of being in those places, helps me see thing I wouldn't otherwise. Honestly, I don't know -- I'm a religious person, I believe in being blown by forces greater than oneself, so I'd certainly welcome being surprised. I think I'd like to continue to explore the great landscapes of the American West as long as I'm ambulatory."

Thank you for a vivid and very enlightening interview. >>>

Making The Cover

2009-03-22T10:19:00.015-04:00

Downtown Reflections by C-Towner

Cover Shots generally share some essential features which include:

Studied composition - Well balanced forms, compelling colour arrangements and/or tonal contrastsFine execution - Whether by intention or fortuitously, a well timed, skillfully produced shot that speaks volumes about the momentAbstract expression - You'd need a few well chosen words to approximate what the photo portrays on its own.

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Cover Shot

2009-03-13T10:30:00.003-04:00

Buddhist Prayer Flags by Brian Beeghly
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Cover Shot

2009-03-13T10:17:00.008-04:00

Callaway Plantation by Portascope
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Charlene Collins

2009-03-11T09:13:00.014-04:00

Charlene Collins has a keen eye for natural, existing compositions and prefers the ambient lighting. Ms. Collins often finds herself in just the right place for her signature photography.

They say artistry begins with composition. What was in your mind's eye as you composed 'Bench' for example?

CC: I was actually leaving Hollywell, a park way up in the hills when I saw the bench. Because of the steep incline of the driveway, I was able to notice the composition.

What appealed to me was the starkness, singleness of the bench looking over the hills towards the parish of St. Andrew and the sea.

PD: That appeal made this one of our early features on Photo Dialogue, from February 17th.

And 'Morant Point Lighthouse'? Tell us about that one. The shapes and colours seem to blend just right here.

CC: This was a brilliant day with great lighting conditions and skies. It was a Flickr outing and most people were up in the lighthouse, but I'm scared of high places and rusty stairs so I stayed as close to the ground as possible! While there, I saw the natural framing and a different perspective of this heritage site. I do like old buildings, especially those made of stone or the limestone ruins in this case.

PD: Next on my list is 'Oranges', a subject not normally so inspiring but one that you've transformed into somewhat of a conversation piece.

CC: Nature and naturalness are very interesting to me, so I look for naturally occurring compositions. I prefer them to staged arrangements. These oranges were in a wooden hand-cart parked in front of some high-rise buildings in the business district. It was early morning, the light was how I like it and the vendor agreed to the photo. I used my ever-present G9 for this one, and I'm really happy with the way the yellows 'popped' and the lines of peel showed up just so.

The activity behind this was also quite eye catching...all those glamorous office workers stopping by this wooden cart for a bag of cane and peeled orange!

Now that's a social contrast scenario we'd love to see in its own feature here on Photo Dialogue.

"Lucea is a little town on the way to Negril from Montego Bay in Jamaica. It's a place I've never stopped in all the years of driving between those two big ones. This day, as I was staying nearby, I decided to stop and look.
Sometimes I feel like I see so much more since I've taken up photography. For me its also a way of recording and reporting. Real estate in this area has become very valuable and it is incongruous to see a weather-beaten building on this land - and you know it won't be for long."

PD: And now to a portrait called 'Loni'. There's a small debate as to whether this is an "uncalculated" portrait.

Charlene: I like candid photos because I feel that once the subject becomes aware, they get into the 'cheese' mentality - you know, the big old fake smile.
Loni is a makeup artist & television host. She was tired after a full day of work being in front of the cameras. She really didn't pose for this - I called to her "Loni, look at me" and she just switched from the look of "I just want to go home" to a smile.
I liked the light and her position on that ledge near the ground. I only use natural lighting (for now) and this was about 4 o'clock in the evening.

PD: I selected this because of the flow of the key lines. The seams in her jeans, that red bag, her arms wrapped. They all seem to flow in a way that makes it arful. Her confident beauty caps it. What's next for you?

CC: I need to cross the boundary from liking candids and waiting for the elements to line up and move to a phase where I stage, direct, light, pose and control all my elements

PD: And we look forward to the outcome.
Thank you for a wonderfully candid and expressive interview. >>>

Cover Shot

2009-03-05T19:51:00.012-04:00

Fraser Island by Ian Cowell
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Marcel Macinga

2009-03-03T12:00:00.011-04:00

Marcel (known as "ri3s" on Flickr) appears to have a flair for the theatrical. So many of his photos are like frames from an unscripted movie featuring everyday people in real-time drama and off-the-shelf wardrobe. Sidewalks, graffiti-walls and ATMs are the props and stage lighting is by the crafty positioning of a hand held Lumix or D80 camera. Is that all deliberate?

"First of all, thank you very much for your words and interest. I am really glad that someone likes my work, I appreciate it. Regarding your question, sometimes when I walk through streets I see scenes and situations and I already frame them in my head, even when I do not have my camera with me at that time. I know places where interesting situations can happen, but I definitely do not plan it when we talk about "street photography".

PD: When did this all start for you?

Marcel: I started with photography about 2 years ago and from that point, I trained my eyes for some situations. Maybe the way I remember the frames in scenes when I watch movies has a big influence.

PD: Sometimes I see a Hitchcock moment in your photos, like "Escape".

"It was a great moment when I took that picture, but it was definitely about luck. I named it according to the behaviour of the man and his action. Wen he realised I am taking a picture of him, he tried to 'escape' out of frame."

PD: And the graffiti wall, the pigeons, those big pavement stones. They all seem like a movie backdrop. Is that what made the photo-opportunity for you?

"I liked the combination and the contrast of the graffiti wall, the street itself, the man in the coat, but at the same moment the pigeons. I took a series of pictures - the whole scene - but really the best moment happened as the man ran out of the frame. Kind of drama I would say."

PD: And 'Look Closer'?

"In all cities around the world you can see beggars. Here in Dublin they are often normal people, able to work (maybe not so lucky to get the job) and they are sitting in the middle of two cash machines - kind of strategy. It is quite interesting, the opposites of two worlds, with some people waiting to pick some money but at the same moment, there's the beggar waiting for some spare change."

PD: What does this all say about you? Where will it take you next?

"I like contrasts. Social, colour, emotional. For me, the street is like theatre. Too many roles, too many characters, too many destinies, their paths crossing on the street. Taking actions and reactions which are necessary to keep them running through life. I am still trying to find myself in photography. I fell in love with street photography, but now I try to do more portraits, some projects. To bring my skills to another level. To plan the scene. To make it happen."

There is one very special portrait in your set, called "In The Crowd".

"Another lucky moment. It came alive in the street art competition here in Dublin. I was watching the performance of one guy, and one of the girls standing in front of me was looking my way several times - as if she was probably waiting for someone to show up. It was not possible to miss her lovely face and innocent eyes, so I waited for her to turn around again. This image came out more impressive than I imagined, with her hand and that look.For me it was breath taking".

Well done.

"I like to be where people are, and everywhere there is something happening, every second. You have only to open your eyes and enjoy the moment. Sometimes moments are really sad, but another minute can see pure happiness, and love." >>>

Cover Shot

2009-03-01T13:08:00.008-04:00

Amarrado by Fendemuros
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2009-03-01T09:34:00.104-04:00

About This

Exploring the concept of artistic photography, Photo Dialogue began with personal Interviews in February 2009. Later the scope widened to provide Insight, a place to share knowledge and technique. Next came Themes to stimulate ideas, followed by Life where photographers depict some aspect of the human experience.

Monographs are illustrated notes on key subjects while Style & Travel links people whose work in their genre is exemplary.

Welcome to Photo Dialogue

Peter-John H. Taylor

Cover Shot

2009-02-25T23:03:00.008-04:00

Untitled by Andy Kapped
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Art in Portraiture

2009-02-25T21:57:00.001-04:00

The good ones seem to have two essential ingredients. One is a poignant, wordless expression of state or attitude. The other is an alluring arrangement of shapes, forms and lighting in the frame. Together they distinguish the artful portrait from the ordinary snap shot.

February 2009

2009-02-16T17:57:00.015-04:00

Trees by Brian Beeghly

Sometimes the thrill in photography is walking around and finding art - right there in your view - then preparing your shot for the delight of others. Brian's monochromatic treatment on "Trees" conveys the serenity that color might only detract from.