Michael Pecaut, Shooter at Large

After spending most of the past few weeks exploring how my new On1 software can be used for photoart fuckery, I’m now playing with it as more of a straight-up processing platform. On the left is 5280LM’s own Michael Pecaut, who should post here more often.

Street Art, RiNo, Denver

Street Art, RiNo, Denver

Not that there’s no fuckery afoot, of course. Continue reading

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Epiphany

High Plains Drifter

High Plains Drifter

Art can be an incremental process. Then there are times when, without warning, you find yourself caught in the throes of some muse’s dying, orgasmic spasm, well and truly beyond any rational explanation.

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Ground Zero

Ground Zero Reflecting Pool

I felt the solemnity of the location, the near-sacred aura of Ground Zero, coupled with the somewhat lacy reflections of nearby buildings juxtaposed with the strong lines of the memorial structure was poorly served by a riot of tourist color. The gathered crowds retreat into the background when rendered in black and white, while the names stand starkly front and center.

I’m glad to have shot this after Moab. I feel I did it much more justice than I might have otherwise.

Entering My Monochrome Period: Bodie Machinery

I had a wonderful experience during a weeklong workshop and symposium (the Moab Photography Symposium) in early May. Among the realizations was remembering how much I loved working in Black & White as a kid (much easier to process and print in black & white when you are using film). In conjunction with starting to print my own work, I am re-exploring monochromicity. The next few days will bring samples.

Abandoned Machine, Bodie, CA

Bodie is a California State Historic Park in the Eastern Sierra, south of Bridgeport and north of Lee Vining. The ghost town has been a state park since 1962 and a national historic landmark since 1961.

A short stop in Bodie in 2014 began my adult, digital, photography as art period. I had about 45 minutes in the middle of the day and shot deliberately for black and white, using the harsh light in an attempt to evoke stark emptiness. Out of less than 50 exposures (most of them bracketed sets of three to capture the total dynamic range available), I got three or four of my better images. It’s taken nearly three years since then to solidify my sense of my photography as art, but the Terrific Trio workshop before the Moab Photography Symposium (plus one other presenter during the Symposium itself) have managed to do that.