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Razor Reds No.1
M-A APO-Summicron-M 50mm & M246

E100

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Razor Reds No.2
M-A APO-Summicron-M 50mm & M246

E100

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One-Two-Three Testing
M-A APO-Summicron-M 50mm & M246
E100

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One-Two Testing Three
M-A APO-Summicron-M 50mm & M246
E100

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Subways II Diptych
M-A APO-Summicron-M 50mm
ADOX Color Implosion & Portra 400

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Root 456
M246 Macro-Elmar-M

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Victor Polyptych
M-A Macro-Elmar-M
ADOX Color Implosion

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Bag Overlay
M-A APO-Summicron-M 50mm & Macro-Elmar-M
E100 & ADOX Color Implosion

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  • 2 weeks later...

Dark Games Polyptych
M-A APO-Summicron-M 50mm
Rollei Redbird & E100

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Bunker Flashes
M-A APO-Summicron-M 50mm
E100
M246 Macro-Elmar-M

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2 hours ago, Ernest said:

Bunker Flashes
M-A APO-Summicron-M 50mm
E100
M246 Macro-Elmar-M

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This has to be close to your very best, Rog - you are cookin'. A main course of Mondrian with sides of Klee and Miro, but with that gritty, textural flavor of the bunker. E100 is your favoured palette for sure. A delicious combination!

Edited by stray cat
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Thanks, Phil. Love the symbiosis of painting and photography; no detours. Or, maybe all detours?  Here are a two rough drafts; don't really want to send any of them to the orphanage. Oh, my, little darlings.

Bunker Flashes No. 2
M-A APO-Summicron-M 50mm
E100
M246 Macro-Elmar-M

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Bunker Flashes No. 3
M-A APO-Summicron-M 50mm
E100
M246 Macro-Elmar-M

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Marcello, I'm So Bored, Still
M-A APO-Summicron-M 50mm
E100

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On 3/22/2019 at 7:43 PM, Ernest said:

Victor Polyptych
M-A Macro-Elmar-M
ADOX Color Implosion

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Quite interesting shot waiting to catch the attention.  My mind is happy when it was caught up here for" instantaneously a long moment" to read it to get the food for thoughts.  

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Squared Primarily
M-A APO 50  E100

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Elementary Classroom
M-A APO 50 & Thambar-M & Nikon F2 Micro-Nikkor 55
E100 & ADOX Color Implosion
 

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Rog - is there a wall in LA or Kauai that you haven't yet commandeered and repurposed as artwork? I'm also seeing a strong recurrence of images - from the old nature book, from your (presumed) grandparents, the printer's blocks and so on - that are obviously central to your interest and intentions with this work. So, although these ~tyches provide a masterclass in the application of classic color theory and perspective/proportion, I am ever so sl-o-o-o-wly coming to the discovery/realization that these are actually intensely personal. Anyway they are intriguing and strikingly beautiful and that is enough in itself.

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19 hours ago, stray cat said:

Rog - is there a wall in LA or Kauai that you haven't yet commandeered and repurposed as artwork? I'm also seeing a strong recurrence of images - from the old nature book, from your (presumed) grandparents, the printer's blocks and so on - that are obviously central to your interest and intentions with this work. So, although these ~tyches provide a masterclass in the application of classic color theory and perspective/proportion, I am ever so sl-o-o-o-wly coming to the discovery/realization that these are actually intensely personal. Anyway they are intriguing and strikingly beautiful and that is enough in itself.

As always, I appreciate your perspective and insightful critique, invariably sleuthing subtext. You're absolutely on the mark; my work can't deny a very personal theatre, since it's predominately constructed, as opposed to documenting the poetry of an artful composition captured in an instant, perhaps instinctually. It's fair to argue that photographers are in drive mode, instinctually. For street photographers, particularly in the HCB stable, it's all about anticipation and execution, all of a moment. I marvel at that magic and recognize that I am simply not that nimble. I am challenged by a theatre of color in context and conflict. There are so many artists that have come to play in the field of color, each with a different improvisation, it's wide open for experimental approaches. In theatre, characters are always interesting when they are lying; it's the subtext that demands interpretation, which is often the province of allegory and metaphor. How can meaning be suggested metaphorically and be more intriguing because of its ambiguity rather than clarity? This is the challenge for me that always marches down center on stage, though I find myself in a series of one acts: one plays on human form, real or mannequin (Bauhaus influence); another plays on identifiable fragments in abstracted constructions; and, a third improvises with color and texture/reflection in counterpoint. I assess my constructions objectively and don't see a Decisive Moment. If anything, I try for an aha!, as Alexander Pope would say, the epiphany of a color field construction that works visually and metaphorically.

Here's a link to Richard Zakia's comprehensive thinking on HCB (for anyone not familiar with him). Some of his work echoes what I've said about gap theory and fragments, which goes back to artists and authors of the British Romantic period, as well as current scholarship on the play of gaps in Renaissance literature, particularly Shakespeare. (See “closure” and “gaps” in Lila Geller, Reading Renaissance Drama: A Process Approach.) 

http://truecenterpublishing.com/photopsy/decisive_moment.htm

Cheers,
Rog

Edited by Ernest
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Atlas Diptych
M246 Summilux-M 50

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