revisiting macro photowork

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I fell in love with macro photography about a year and a half ago, going through a long learning process and taking lots of photos for many months.

It’s been an embarrassingly long time now since I took any new macro photos. It’s partly laziness in getting the bigger DSLR camera, the lenses and the extension tube out, especially if I have to change them after husband has used it with other lenses. When it comes to the technical side of photography, my memory does not retain the information for long without regular use. One gets too spoiled with today’s point and shoot cameras but ours does not have a great macro feature. Anyway, I’ve had a strong urge recently to take it up again and relearn it.

Here are some of my first little efforts. Having shot these indoors on a cloudy day, they came out very dark, but with iPhoto and PhotoShop I was thrilled to tease out some exciting-to-me results. The imperfections that I find in this kind of photography actually satisfy the artistic and creative side in me, sort of like the “happy accidents” I like to cultivate in etching and other printmaking processes.

Because I know you will ask what the subjects in these images are, I shall tell you they are small shells in a plant pot on the windowsill next to my computer desk in our home in a city on the west coast of Canada. Enjoy!

an artist’s garden

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About a week ago I wrote about some garden art we’d installed to hold up some flowering plants. One commenter in that post mentioned Derek Jarman’s garden in Kent, England, including a link to wonderful photos of it as well as mentioning Jarman’s book. I was immediately captivated.

A few days later, a package arrived at our door, containing the book Derek Jarman’s Garden! It’s a lovely surprise gift by that commenter, J, who is our son-in-law, presently working in England (our daughter and their two girls are visiting here). I knew artist, filmmaker and writer Derek Jarman was a hero of J’s just from seeing his large collection of that artist’s books and films.

I didn’t know that gardening was a life-long passion of Jarman’s and that he spent the last years of his short life building this unique garden at his cottage on the shingle beach of Dungeness, next to a nuclear power plant. He kept a journal about the experience, while photographer Howard Sooley captured rich images of him and the garden, even assisting in plantings. Jarman hunted and carried back many stones, weathered wood pieces and rusty objects from his walks on the shore and created magical installations amongst the plants and shingle. Jarman’s partner Keith Collins wrote a lovely preface and assisted in the publication, done after Jarman’s death.

Only a few hours after receiving the book, and it being a very rainy day, I was drawn into this little beauty, absolutely swept in and loving the photos and the writing, finishing it at bedtime with a happy glow. Here is one of many many favourite passages from Jarman’s writing:

At first, people thought I was building a garden for magical purposes – a white witch out to get the nuclear power station. It did have magic – the magic of surprise, the treasure hunt. A garden IS the treasure hunt, the plants the paperchase.

I invest my stones with the power of those at Avebury. I have read all the mystical books about ley-lines and circles – I built the circles with this in mind. The circles make the garden perfect – in winter they take over from the flowers. There was magic and hard work in finding the coloured stones for the front: white, difficult: grey, less so; red, very rare.

I was amazed at how much beauty was achieved in such a harsh environment. By no means can I compare myself to such a wonderful gardener (as well as writer and artist). I think the lush rainforest of our Pacific Northwest area is one huge garden of its own, in the midst of which we try to make our own little mark, our little piece of paradise on earth. This book has inspired me to look at my garden in a slightly different way, encouraging me to continue to add more personal touches after installing the rust pieces mentioned earlier. I unearthed some forgotten artifacts in the garden shed, like these rusty old garden tools and Greek goat bells, very modest things to add to the various stones and rocks from beaches here and there. Time for more beach and junkyard combing, methinks!

Thank you so much for this inspiring book, J, I will treaure it!

Oh, and isn’t it interesting that this conversation started with the other son-in-law making the wonderful rust garden supports, with daughter Elisa‘s suggestion? I am lucky.

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Later: J sent me some excellent links for further reading and viewing if you are interested:

article by Howard Sooley
Howard Sooley’s website
more writing at the Guardian
a “letter” from Tilda Swinton, the actress, and good friend of Jarman’s mentioned a few times in the book

Plus, I forgot to add this article about the Dungeness area

garden art

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Summer seems to have finally arrived here with the turn of the month. After a long cold gloomy spring, the light now seems almost too brilliant, especially for photography. We’ve been out on the good days in the past couple of weeks doing a lot of pruning of trees and shrubs to keep our mature garden from reverting into a rainforest jungle.

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You might recall that last month when we were visiting our eldest daughter and her partner and attending a wedding in another town, I got interested in Richard’s skilled metalwork. Using bits and pieces of intriguingly textured rusty scrap metal plates and rebar, he made me some arty stakes in a cage arrangement for my row of peonies. These ones always produce massive heavy blossoms, and it always rains when they are in bloom, so it’s a difficult job keeping them staked up in an attractive way. Now I have these wonderful garden art pieces that will look nice even in winter! You can see the peonies are now blowsy and ready to shatter.

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Another plant in the garden that needs staking is the giant red crocosmia, which will be blooming a little later. We’ve been using these ‘bumblebee’ posts that we received as a gift long ago, from my sister-in-law and her husband, and was crafted by one of his daughters (sorry I’ve forgotten her name). We needed a third stake to be able to comfortably tie a wire or string around the whole clump, so Richard made another post with a rectangular rust plate. We just put it in place yesterday on the other side. Don’t all these pieces of garden art look great, and by repurposing material that might just end up as waste? Thanks, Richard!

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To finish this little garden tour, here is a view of my red roses and the just finishing blue ceonothus beyond. Though you only see a glimpse of them, there are lots of self-sown foxgloves and daisies everywhere, giving my garden a wild look in the early summer.

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another hand print

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While Elisa was having her metalwork lesson with Richard, I explored outside his barn/workshop/studio with camera in hand. Amazing what visual treasures can be found in what seems like a junkyard of old cars, farm equipment, snowblowers and assorted machine parts. For Richard, these are treasures in parts to recycle and put to new uses like Elisa’s frame but also something he made for me that I will tell you about later after we’ve installed it and taken photos.

My favourite image found and photographed amongst the fascinating rusty shapes and textures has to be this hand print! How long ago did some worker with oily hands leave his mark here? Was it intentional or accidental? For me, who has long been fascinated by hands in ancient rock art, and I’ve written many a blog post about it, this is astonishingly evocative and rich in synchronicity.

Added June 18th: Richard has commented below with a bit of history of the snowblower upon which sits the handprint, so I thought I would add the photo of the chute, below. Can you see that handprint?

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a silver quarter

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I give you a brief break from Gabriola rocks to tell you about curiosity and an unusual looking Canadian silver quarter which I found in the pile of change on husband’s dresser. On one side it has three figures that look like native petroglyphs, dated February 1999 Fevrier… and you know my love of petroglyphs.

Wikipedia tells me it is one of the Millenium quarters. This one is designed by Lonnie Springer and called ‘Etched in Stone”. No image was given there but I found one here and have borrowed it above. (My scan was lousy.)

This supposed-to-be-just-a-quick search then sent me looking into my archives for my posts about Writing-on-Stone Provincial Park in Alberta where we’d seen a few petroglyphs similar to these on the coin. I still want to go back there and see the others we missed!

See how I can get distracted and “waste time”? Not this time, I say, for I love these sudden little finds and connections, and how I’m reminded again about looking very closely even at supposedly ordinary coins. No, I’m not a coin collector though I’ve occasionally saved the odd special one, now including this one.

Back to spring cleaning – company’s coming!

Beaty Biodiversity Museum – 3

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Moving along in the Beaty to look at the specimens in the glazed display cases, still in the Atrium and below the Blue Whale, I was immediately enthralled by the gorgeous skulls of many creatures. I’m sorry I don’t have the proper names for the specimens to give you here as I tended to be more attracted by their diversity and the beauty of their textures, shapes and colours in what I chose to photograph than to make this a scientific record. It was too time-consuming and complicated for me to make a textual record of every image.

In fact my husband said when he saw me eagerly pull out the camera again, “Now I’ll never get you out of here!” I think we were both reminded of our long ago visit to the Royal Tyrrell Museum in Alberta where I went so camera happy, especially over the fossils. That amazing place was the source of many photos (pre-digital), some of which ended up in my printworks.

Maybe some details from this Beaty experience will also become part of future work too while they sit in my image library waiting for that right moment of inspiration and connection. In the meantime, they have provided inspiration in continuing thoughts about biodiversity and loss, as well as great blogging material.

I might have taken far more images but was often frustrated by the challenges of too many reflections on the glass fronts or tops, especially in the areas away from the Atrium. However, in the top photo, I was intrigued by a happy reflection of the Blue Whale’s tail and the trees outside, so chose not to crop them out. More to come – are you getting bored yet?

Related: Part 1, Part 2, Part 4, Part 5, Part 6 and Part 7

Fragments III

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FRAGMENTS III
archival inkjet on Hahnemuhle Wm.Turner paper
91 x 76 cm. (36 ” x 26.5″)

Edited later: Please view all the Fragments pieces in ‘FRAGMENTS‘ under PRINTWORKS.

Fragments II

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FRAGMENTS II
archival inkjet on Hahnemuhle Wm.Turner paper
91 x 76 cm. (36 ” x 26.5″)

Please view the other two FRAGMENTS at the links below:
FRAGMENTS I
FRAGMENTS III

UPDATE Sept.23rd, 2011: The Fragments category is now up under PRINTWORKS. I will add more works as they are created and completed.

Fragments I

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FRAGMENTS I
archival inkjet on Hahnemuhle Wm.Turner paper
91 x 76 cm. (36 ” x 26.5″)

This is one of the group of prints that I had written concerning my naming struggles. I finally did settle on titles. I still don’t know if they will become part of a larger series in future and what that series will be called until that work has been made – perhaps even FRAGMENTS. So at this moment I’m in a dilemma in placing them into a category on this blog as well as in the gallery/slide show. I’m thinking of “New Works” but when that changes, my links will break…decisions, decisions…

Update: Please view the other two FRAGMENTS at the links below:
FRAGMENTS II
FRAGMENTS III

UPDATE Sept.23rd, 2011: The Fragments category is now up under PRINTWORKS.

naming

Just before the holidays, I finished printing the third piece in a group of three large prints that I had been working on during the fall. I’m very excited and pleased with them. As usual they had ‘working titles’ while under development. However, I have delayed signing and documenting these for I’m struggling to come up with just the right titles. Because they may become part of a larger series, and I do tend to work in series, just the right naming is all the more important to me. I’ve considered including them in my ARKEO series for they are related, yet they are also different in look and mood and future pieces may be using new materials and presentation.

Last week I spent many hours over several days preparing digital files of my work and the work of an artist friend (who asked for help) for a group submission to a gallery. Of course the naming of those three pieces came up again but remained frustratingly elusive. Ultimately I had to title them temporarily “To Be Titled #1 to #3” just for this purpose. Not “Untitled”, because that sounded permanent. Even the artist statement was made even more of a challenge!

As I was about to nod off to sleep last night, my thoughts returned to those pieces once again. Bad timing to start thinking challenging thoughts at bedtime! Like a computer hard drive that doesn’t completely go to sleep, my brain kept working all night even while I slept. Sometimes answers are revealed to me that way, in fact a couple of titles did emerge from the night fog, but I’m not entirely convinced by them. Those prints may stay unsigned for a while, sigh, and I know this happens to other artists too. Pardon me if I don’t even post the images here just yet.

This is even harder than coming up with names for our human babies!