Temporary, Once Again

OR-1027-2017-007 WP

Every season is a rehearsal for next year.

When in doubt wear red. — Bill Blass



The more exposed flowers in our garden are showing a bit of wear, but the columbines, hunkered beneath the protective bulk of the rose bush, are thriving; some might even say soaring, as they imitate a family of acrobatic swallows elsewhere in the yard.

Flowers… are a proud assertion that a ray of beauty outvalues all the utilities of the world. —Ralph Waldo Emerson

That Time of Year, Again

In The Morning


Spring is truly one of the great forces of nature, and nowhere as sweet as the first yellow iris blooming in my wife’s flower garden.

“Every morning, every evening, ain’t we got fun”
—from Ain’t We Got Fun, by Whiting, Egan & Kahn

In The Evening

Wet & Wild (Kodachrome, That Is)

Nature 1999 copy

As I work through my film archive, Kodak moments pop up regularly, like this pair, taken in 1980.

Nature 1948 (12-1980)

“Colors, like features, follow the changes of the emotions.”
—Pablo Picasso

Alternative Photography


The question “Alternative to what?” might be fairly asked, but most of the photographs we see are normal, traditional examples of the medium. Whether in black and white or color, viewed on a printed page or a computer monitor, things usually look like we expect them to. Anything out of the ordinary stands out like a Picasso or Dali in your vacation photo album.

But photographers have always tinkered with processes, and the list of examples include bleach bypass, cross processing, cyanotype, double exposure, gum bichromate, infrared, pinhole, platinum, palladium, Polaroid art, and solarization. Most of these techniques have their roots in film, and so require(d) a wet darkroom. And while home darkrooms (think bathroom, with black plastic covering the window) have all but disappeared as film has given way to digital, the alternative processes continue to be practiced as always by a smallish number of photographers. Not surprisingly, as photographic software has evolved the look of many alternative processes is possible on our desktops without the physical requirement of a wet darkroom (a plus for many, a failing for others).

The example here was done in Topaz Adjust 5, using one of the Solarized Dreams settings in the Stylized Collection.

“Of course, there will always be those who look only at technique, who ask “how,” while others of a more curious nature will ask “why.” Personally, I have always preferred inspiration to information.” —Man Ray