Abstract photography is one of those things that people often dismiss until they actually try and do it. Then they discover not only how interesting and expansive the genre can be, but just how difficult it can be to create something interesting. Just because you don’t have to make your image tack-sharp doesn’t mean that you don’t have to make your image interesting.
Gordon Bowbrick hails from the friendly maple-leaf north and has spent more time than most working on not only creating abstract images, but working on the process and practice of doing so. Unlike so many “art” images these days, his images are created in camera. He uses Photoshop to re-create many of the tools he had in a traditional darkroom. But none of his images are compositions or mashups of different shots. Every image is, essentially, the image it was when he pressed the shutter. Knowing him, I doubt that Gordon does this out of a sense of “My way is better than yours” but more for the challenge and enjoyment of creating something behind the camera rather than behind the computer.
Abstract images, ones that are based more on pattern or color rather than on presenting a particular subject, appear many times throughout your portfolio. What attracts you to these sort of images?
Gordon B
GORDON: My eye has always been drawn towards strong patterns and lines, at the same time I often prefer subjective interpretations of reality over literal captures. Both of these interests come together in my abstracts. I Like to think that I am digging below the surface of the subjects I choose to photograph. By stripping away some of the surface detail through motion blur, soft focus, limited depth of field and the like, I arrive at a new and interesting translation. This alternative view can sometimes offer an insight into the inner workings of the subject, which a literal capture may miss.
For example, last winter I spent a week on an island in the Caribbean. Each day, in the later half of the afternoon, the sea took on a luminous appearance as the sun sank lower in the sky. At the same time the wind dropped and the water began to grow still. There was a magical feel to this place and time. The world winding down like a clock slowing. Each day I went down to the shore with my gear and tried different approaches to photographing the scene. When I arrived home to Canada and went through the images, I discovered that shots taken with a 3.0 ND filter, panning the camera parallel to the incoming waves with the shutter slowed down and the lens wide open with a slightly soft focus had given the best representation of the atmosphere which that time and place exuded. By comparison the images shot with a faster shutter speed, with locked tripod and cable release seemed lifeless.
Sometimes it appears that you intentionally look to create abstract images and sometimes it looks as though these images are the result of your photographic experiments. Do you think that you are more attracted to creating abstract images? Or do you think that of all your experiments and adventures with a camera, you just tend to be drawn to the more abstract results for your portfolio?
GORDON: Abstracts arise out of my experimenting with the camera, I cannot remember ever picking up the camera with the explicit goal of creating an abstract image. I am primarily interested in experimenting with methods to convey the dynamics of motion and time as they relate to what is ultimately a static art form. I explore this idea in a number of ways which I continue to endeavor to hone. I am always on the look out for new ways to capture the fluid nature of our surroundings.
My slow shutter experiments result in images which are abstract to varying degrees. I do not find that the degree to which the result turns out abstract is a measure of how much I am drawn to the result. Sometimes a purely abstract blur seems to work and on other occasions a more subtle distortion seems appropriate. To me the draw is in how well the image works in terms of communication and how the image looks esthetically. If the result is evocative and visually appeals I evaluate the quality of image I may be able to get from the file, if the image stands up technically then it is a keeper.
Your portfolio also has many “people and place” type photos. So many photographers are obsessed with “documenting” a scene and trying to reach that impossible goal of being unbiased and impartial. Is there something for these photographers to gain by “letting go” and learning to create more abstract images that don’t seem to have a “this is what I saw” type of purpose? What do you personally gain from these images? Or, perhaps more accurately, what does your photography as a whole gain?
GORDON: I agree that an unbiased photograph is an impossible goal. In order to create an image with a camera, myriad decisions have to be made, each one of which imparts some degree of bias to the end result. Working on abstracts can involve thinking in broader strokes as regards some of the fundamentals. Letting go of some of those preconceptions about what constitutes a successful image is something I personally find liberating and I suppose this could be true for other photographers. To me photography is about far more than “this is what I saw ”. I am more concerned with trying to present to others “the way in which I saw” what I saw. I believe that anyone could benefit from incorporating some amount of personal interpretation into the photographic process. Photography is about personal vision, otherwise the camera is nothing more than a light capturing device.
In terms of personal gain, the methods employed to create my abstracts allow an the opportunity to unleash the more spontaneous side of my creativity. I think of this working method as improvisational photography. This definition most likely stems from my long standing interest in improvisational and experimental music. I find myself thinking about the music and writings of Anthony Braxton or John Cage when I am devising new projects to explore with my camera. Setting working boundaries to establish direction and purpose while allowing for the intrusion of serendipity lays at the heart of any good improv. The world is in constant motion, getting into a flow whereby my camera and I are moving and trying to interpret the motion of the objects around me can be a lot of fun. There are so many possible options and outcomes that I never get bored of establishing new parameters and seeing what might result.
My drive-by series, which is an ongoing collection of images taken out of the window of a moving vehicle, started innocently enough as a happy accident from which I drew inspiration. When I tried to capture some of the scenery which I was driving through each day on my commute I discover some interesting results arose from the images being smeared across the sensor when the shutter speed was slowed down. Some of the fun of my drive-by photography comes from anticipating the shot I want to get as the scene outside the window races up to me and quickly vanishes out of sight. Changing the zoom, the shutter speed and aperture on the fly in the hopes of capturing an interesting image connects with a different part of my psyche and opens up new ways of seeing the world. Years later, I am still refining my technique and finding unique new ways to explore the concept.
As for the effects on my photography “as a whole” I have a number of varied interests in photography from macro to landscape. I believe that each area of interest ends up cross pollinating the others. I find myself incorporating into my landscapes and seascapes insights and techniques which I refined in my motion abstracts. Likewise another of my interests is macro and specifically photographing native orchid species in situ . As a direct result of trying to make a scene subjectively my own with my abstracts, I have found myself inspired to seek ways of creating more subjective and interpretive representations of the flowers I photograph. I am no longer content with getting a clean shot of the species, nowadays I try to incorporate something of what the orchid represents to me and how it relates to the surroundings in which it grows.
How can someone learn to start making abstract images? While it may seem kind of silly to ask such a thing, there are many people to whom images like this are as confusing as calculus. They are just lost on how you might get started.
GORDON: That is a tough one. I can really only speak for myself and hope that in doing so I spark some creative notions for others. I try to visually dissolve the surface details of the objects around me and view things in terms of pattern and shape. Seeing a trash can and a lamp post on the side of the road as a vertical black line, a cylindrical blue shape and a yellow stripe dividing the lanes. I then try to explore the relationship between those shapes and arrange different patterns by changing perspective, camera angle etc. until something visually appealing falls into place. Often times nothing useful turns up so I move on and keep looking for possibilities.
Because I so often work with slow shutter speeds I often evaluate a scene in terms of what experience has told me will occur if I drag the image around. Proximity to the camera affects degree of blur, relative brightness determines the sharpness of the edges of what is blurred, direction of motion in relationship to the underlying shapes and patterns is very significant. The only way to get a feel for these and all of the other variables is to log time experimenting and analyzing the results.
When trying to create abstracts I find it helpful to start out with a specific goal and lay down at least some rudimentary ground rules for the shoot. Sometime this can be something as simple as deciding to only target billboards for the next 10 minute of drive-by shooting or to only shoot subjects when they are 45 degrees forward of the side of the car. By setting parameters I find that I tend to learn more afterwards when evaluating the results than I do from random shooting. If a person shoots 50 frames at 45 degrees to the vehicle with the same lens and then takes a critical look at the resulting images they will be left with a good notion of the ways in which that approximate angle distorts objects approaching the vehicle. One of the terrific advantages of the digital era is escaping the cost of film while honing technique. We can all take advantage of this luxury by indulging our whims and getting out there and shooting .
The follow up to that question is to ask, how does one know if an abstract image is successful or well done? If someone is making a portrait of their friend, they can look at the resulting image and say “That looks like my friend” and feel that the image is successful. But how does one know if they have done a good job when there is nothing to compare the result to?
GORDON: I judge my more abstract images by the same standards which I use for any of my other photographs. I ask myself more or less the same questions. Did I succeed in conveying my intent? Is the image a technical success? In other words did I end up with a photo possessed of the usual standards of quality we each struggle towards in our photography; strong compositional elements, quality of light, accurate exposure to produce an image with good tonal range, etc. For my particular type of abstracts, composition can be more challenging than with a typical still life capture. My subject is often in motion as well as the camera being in motion, requiring that I anticipate the composition before it actually arises. Pouring through the resulting images from a road trip I compare the results to my previous work. My own yardstick is about my results evolving and improving, getting closer to my intentions. There are many combination of subject and technique which I have repeatedly tried to wring a good image from without coming up with a workable result. Sometimes it is more about moving toward a goal than about the current image itself. If I see improvement then I am pleased and motivated to continue. I am always in search of the next time where intentionality and chaos collide in such a way as to produce a striking image.
Gordon B
I have seen some very striking abstract images which contain no visual sign posts to indicate the source material, photos where form and colour are all that matters. As much as I admire and respect this approach, pure abstracts are seldom my goal. I like to see my end results as deconstructions of the source material. I strive to have a result that is loosely representative or at least evocative of the subject I began with. I consider an image most successful when my technique has significantly altered the scene, leaving a visually pleasing image which continues to indicate the underlying source and hopefully capture some of the spirit of the place as well. If I shoot people on the street I want to use the abstraction to create an interesting composition, I attempt to mold the people and the street to my advantage, however I want the scene to be recognizable for what it is and I hope that the blur and distortion adds to the image such as helping to convey the rush of hustling down a busy city street.
And finally, the question we ask everyone: There are many types of images in your portfolio. What would be your ‘dream project’ if you could work on anything in the world?
GORDON: In many regards I am already living my dreams. I am currently in the fortunate position of having ample time and opportunity to play with my camera and work on the resulting images in my leisure. Being able to pursue my photographic interests out of curiosity and a desire to have some fun is a dream come true. I live in a beautiful environment where I can find endless inspiration in my surroundings.
Over the past few years I have begun scuba diving as a hobby and have taken some first tentative steps in exploring underwater photography. If I had a dream project to wish for it would be to have the opportunity to spend more time diving with a camera on the coral reefs of the Caribbean. The ultimate motion abstract challenges for me may well be found under the sea. The host of exotic shapes and colours on a coral reef could easily offer a lifetime of further adventures with a camera.
Some Examples of Gordon’s Work
Gordon B
This photo was taken during a fire dance performance on the beach in Roatan Honduras. In this case I wanted a stationary camera to allow the dancers motion to paint the pattern of the flames against the darkness. Since the dancers were moving around quite a bit this was shot hand held in order to be able to follow the action. Steadying the camera against the trunk of a palm tree allowed for a 2 sec. exposure at f 16. I used an ISO of 200 and metered the exposure off of the flames. Canon 20D with EFS 17-85 @ 85mm.
Gordon B
This photo is an example of using camera motion to paint descending waves of light down the frame. The points of light where streaks of sunlight filtering through the forest at sunset. The dark vertical elements are tree trunks. Previous experience with these type of spectral highlights suggested that I give this approach a try. This one seems to work for me irregardless of whether I recognize the source, giving a lazy gentle feel. Shot in the forest behind my home with the 20D using the 70-200 mm 2.8 Canon lens. 1/2 sec at f 8 with a circular polarizer.
Gordon B
This photo is a slow horizontal pan of the Caribbean sea. Taken with the Canon 20D. 1/2 sec. at f 16 with the 17 -85mm at 44mm. I used a .9 ND filter along with a .3 split ND filter to get the shutter speed down while allowing a relatively open f stop and balancing the brightness of the sky.
Gordon B
This is an example of a scene I tried to capture repeatedly before finally getting an image I was happy with. I pass this scene on the side of the highway en route to a favourite orchid hunting area. I always thought that this would make a good drive-by photo and I had long held an image in my minds eye of how I wanted to represent the scene. Utilizing the fact that the amount of blur is relative to the distance of an object from the lens I was able to smear some roadside tree saplings across the frame reinforcing the bleakness of the factory while maintaining good detail in the more distant structures. While not being an abstract in the strictest sense, the scene is considerably altered from what was in front of the camera. Canon 40D 70-200mm lens 0.6 sec. at f11 ISO 100 circular polarizer and 1.2 ND filter.
Gordon B
Here we have an image which resulted from removing and dismantling a plastic lens from an inexpensive 35mm viewfinder camera which I picked up at a thrift shop. I have collected a bunch of these lens elements and I tape them over a hole drilled in a EOS body cap in various combination. I make up interchangeable apertures from small circles of aluminum drink can with various sized holes poked through the metal. In this case the scene was branches of a lilac bush with fresh spring buds beginning to open.
Gordon B
Another drive-by image. I find white birch trees particularly nice subjects to explore in drive-by photos. In this case the road in front of the trees and the rail lines behind seemed to capture some of the feel of an unhurried journey down a rural road. 20D 70-200 2.8 at 70mm 1/8 sec at f 22
Following your work for quite a long time, I enjoyed reading your answers to Josh's questions, as a featured member of this month that deals with abstract photography. This enabled me to better understand your way of thinking, before the camera is in action, and afterward , observing your result. I like the way you explain the experiments you do, what are your aspirations to achieve and how it is done technically. You talk about abstract photography as it is the subject, but I like as well that part in your work that deals with music artists that you photograph while performing ( which is a mutual passion), and even though they are not abstracts they are done with the same skills.
I think that as practicing abstract photography your result don't need too much word as they speak for themselves in their colors forms ,diversity, compositions, aesthetics and technic.
Congratulations for being chosen as featured member ,and thanks Josh for his nice questions and editing.
Thanks for bringing that mistake to my attention . Perhaps management can delete the ir and leave regardless . I am always happy to stand corrected and be better informed. You are incorrect however regarding irregardless being a word. Irregardless is in my Merriam Webster dictionary and my Funk & Wagnalls dictionary.
" The most frequently repeated remark about it is that “there is no such word.” There is such a word, however. It is still used primarily in speech, although it can be found from time to time in edited prose. "
Irregardless is however a double negative and is non standard usage both of which are very good reasons why I should have used regardless instead.
I was obliged to come up with my end of this article with very little time afforded. Under ideal circumstances I would have written my replies on one day and proof-read and made corrections the following day. In this instance I had to rely on someone else to proof read. If you read back through the article you will find a few more errors of punctuation and grammar maybe even a spelling mistake or two.... have fun and thanks for the comment.
Thanks for stopping by and offering such generous words. You have been a long time supporter of my work , I have benefited greatly from your helpful comments and encouragement. I appreciate your congratulations.
Congratulations on a deserved chance to be featured and talk about your work. Your photographs and your character add much to your little corner of this site, and I'm glad to see that recognized and it giving you a platform to showcase your work and talk about your ideas and process.
Until somewhere toward the end when you do get to it, I kept wondering about the introductory headline, "Gordon Bowbrick: Abstract Photographer." I kept saying, which Gordon Bowbrick? Sure, I understand, and was glad you finally made explicit what I think applies uniquely and most interestingly to your work. That comes when you use the term "deconstruction" and explain that your subjects are often still recognizable, even as they have been abstracted. That's always been one of the most profound signatures I find in your work. I was literally sitting at my computer making notes about what I wanted to say in my comments and I was shouting that to myself for most of the first half of the article.
Not that the beginning of the article doesn't tell me a lot. It does. I actually found myself answering some of Josh's questions for you, before I even read your answers. Maybe I've come to know you (you and your work) better than one might think, given the vicissitudes of the PN experience. But I certainly do feel connected to your work, out of admiration for how it looks, out of the effectiveness of how it makes me feel, and out of respect for the process of experimentation and learning that I've seen you go through . . . right along with my own.
So when you were asked if you do what you do more to create the abstract image itself or more as a result of liking the product you've created, I kind of knew you weren't going to set up a hierarchy for yourself of that sort. I also sensed for you there was a significant relationship between the photographic process and the expressive engagement, that the results were already somewhat present in the process and the process present in the results. Your goal seems to be all of that shaken up into a frothy mixture rather than an either/or watered-down drink.
My favorite quote is "the way in which I saw what I saw." I mean, that's when you really get to the meat of what you do. It has the two levels of seeing, which to me echoes in words what you do in pictures. It's the explanation of the recognition of your subjects often accompanying their abstraction. What you saw is not left out of the equation of your so-called abstractions in favor of just showing us the way you saw. The way you saw is added, subtracted, multiplied, and divided to, from, and by what you saw, providing you and the viewer with your own layered vision.
Finally, I appreciate your answer to a question which was framed in a way I had trouble relating to. In approaching the subject of how you consider an image a success, there's a suggestion in the question itself that the success of a portrait is determined by the photographic image looking like the person. That, of course, would be no more accurate, except in limited photojournalistic or documentary scenarios, than to suggest that the success of the photo of a street was that it looked like the real street or a still life looking like the real vase and bowl of fruit. I appreciate your approaching success in universal terms and recognizing more significant clues to success than accurate representation. You talk about intent and technical achievement, something which applies from subject to subject and from genre to genre. Even that answer, to a large degree, shows more abstract than concrete thinking, though there is much concrete thought that seems evident in your work. I would add something about feeling. Your work is often evocative and awakens certain feelings in me. I doubt you sit around deciding what feeling you want Fred, or anyone else for that matter, to have when viewing a photo. You've said to me in other places that you're not necessarily sure even of your own feelings at the time and how they might translate to a photo. But feelings are there. For me, that's a huge part of success.
It was a pleasure to read many of your humble yet sophisticated answers. You've obviously thought through many of these things. But importantly, you've lived and produced the accompanying visualizations of what you're saying. Kudos!
Hello everybody!
Please accept my apology, my English is not very good so, I can't be with you on your ship! But I'm following your great and educational remarks. I'm sure that I will learn many things by your opinions. photo.net is center of great photographers similar to you!
I appreciate your thorough reading of the article.
I too find the term " Abstract Photographer " an uneasy fit. I have never been able to come up with a precise working definition for the term abstract.
I am inclined to see abstracts as being images stripped of context , where line and colour are all that remains, however I regularly see the term used to encompass images with ample context. If I go to the Abstract category here at PN I only become more confused about the definition of the term. I have always referred to my photos as motion studies. For the purposes of this article , I suspect the term abstract was chosen because the term is universally used and easily recognizable , if not easily defined.
While answering the questions Josh posed , I did have some thoughts which I wanted to include in the article while trying to stay on topic and answer the questions as specifically as possible. Answering these questions was a rewarding learning experience for me. Photography being a visual art , I have not often found myself in need of articulating the what and why of my approach. Some realizations of my own were gained while wondering about how best to respond to the questions. I have been given ample opportunity for further pondering by reading your thoughtful and stimulating comment.
Thanks for the congrats. I am thankful for your insights into the article , my own work and the broader realm of photography.
Gordan, congratulations on your attempt to expand the "ART" of photography, however, if you really want to understand what abstraction is about there is no better place to go but to the beginning: back to Kandinsky, Malievich . I have always been puzzle that abstract painting came about shortly after the advent of photography and the thinking that reality would now be better replicated by this new , and wondrous form of visual expression. I am excited that you are trying to follow a new way of thinking because I agree with your "static" comment about a lot in photography today. One final thought, I feel it is important to remember that we don't see with our eyes.......we see with our feelings. regards, JC.
Gord, congratulations on your well deserved status of Featured Member. I have nothing particularly erudite to add to the wonderful comments you and the others have placed here. But I've enjoyed our give and take over the last year and I'm elated to see you get the credit you deserve. I know I've learned a lot from you, and appreciate your willingness to interact with others on Pnet.
Gordon,
congratulations on your nomination to "Featured Member". Looking at your images today, I am struck by your creativity and the diversity of the images, as well as the the final presentation. Both the abstract as the more concrete images are standing out. I will return to your portfolio many times.
Gordon, hearty congratulations on the impressive honor of being named a "Featured Member". You are truly deserving of this recognition for your abstract work.
I always study your work because it is so different and because I feel a part of the images somehow. Your perspective on "the usual things" becomes artistic and inspiring to me to do better about thinking out of the box more often.
I am also impressed with your photographic abilities. I have made many concerted efforts to replicate what you do, and, darn it, I just can't get there - yet.
Also, I enjoy our banter immensely. I sense a fine intellect and dead pan humor - two things I thoroughly enjoy. I cannot- or will not- forget the dogs. They keep things real, and delight me to no end.
I have no interest in " attempting to expand the "ART" of Photography " I am really only trying to amuse myself, learn a bit and have some fun. Any attempted expansion is purely accidental.
I do enjoy some of the abstract painters and have read with interest about their various approaches to painting. I always loved the story about Miro putting a bunch of pieces of coloured paper into a drawer and opening and closing the drawer repeatedly until a look inside the drawer revealed a promising arrangement. However I am more attracted to thoughts and images relating to motion depiction. Umberto Bocioni's "Plastic Dynamism" or Anton Giuilio Bragaglia's " Futurist Photodynamism " being more relevant snippets of art history as regards my own curiosity. The aspects of those movements concerned with " picturing time " peek my interest. These movements relate nicely to your very interesting observation about the early days of photography and some of the expectations people had for the photograph.
You appear to be agreeing with my " static " comment while possibly misunderstanding my intention in using the word. If I understand you correctly , you are implying some sort of judgmental connotation on the general quality of photography " today " by the use of the word static. My intention in using the phrase " static art form " alluded to the fact that a photograph is a more or less singular occurrence, trapped in time and rendered in two dimensions, any other inference is strictly your own.
As far as using our feelings to see is concerned, I prefer to use my eyes as well as my feelings, that way I bump into less stuff.
Hi Dave, our regular exchanges of ideas along with a good dose of often wry and amusing observations, while checking in on each others photos is a big part of the enjoyment and the education hanging around PN provides. Thanks for the generous comment and the ongoing support.
Per-Christian, thanks for the congrats. I am happy to hear that you enjoy some of my more concrete photos along with the abstracts.
Liz, there could be no better achievement than to be told that what I do helps motivates you to think outside the box. I too find much pleasure in our bantering about of ideas, it is also nice that we get each others sense of humour. I love hearing that you feel a part of the images as I do want my work to feel inclusive and inviting. Thanks for your support and your congratulations.
I am very happy to see Gordon's beautiful work recognized. Gordon you have a wonderful eye, and you produce interesting and evocative images. I am sure there is a better description of your style, but the best I can come up with is poetic. Thank you for sharing your photos with us. Dan
Gordon -
The recognition of your work is well deserved. You have a distinct style and artistic philosophy that is quite admirable.
Congratulations! ~~~~~L
Gordon - wow! Somehow I've missed your work prior to this exposure as Featured Photog - congrats on the honour bestowed on you by Pnet. I have to say its an honour thats well deserved.
Your abstract work is astonishingly fresh and vibrant with a flair and imagination thats so sadly lacking in much of the derivative work I see around.
The elegance of your images 'despite' the simplicity of your subject matter should be a huge inspiration to people who bemoan a lack of 'stuff to photograph' where they live. Your 'celebrations of the ordinary' are quite remarkable and simply underline that the stuff 6 inches behind the camera is somewhat more important than that 6 yards in front of it.
I regularly lead groups of aspiring photographers on week-long courses and try to get them to 'let go of the side' (to use a swimming analogy), in order to 'see' whats around them from a new perspective, and your portfolio will certainly be recommended to participants.
As someone who continually tries to push my boundaries in the ways I can photographically explore my world you've provided much inspiration with your images, and a thoroughly thought-provoking read with your comments.
Hi Gordon, Congratulations! Your images are spectacular. I know some people, when viewing a photograph will complement it by saying, "It looks like a painting." Yet, when viewing a painting, they may say, "It looks like a photograph." Go figure. Personally, I don't think photographs should be made to look like paintings. But making abstract images - and I shoot them as well - is to me not about making the image look like a painting. To me, it's about creating something entirely new out what would otherwise be mundane or even ugly. The excitement comes in not knowing what the image really looks like until I get it on the computer. Thanks for sharing your work.
Ahhh ! Nice to see your work featured on the front page ! :-) I like what you do : always neat and clever. Keep going ! And thanks for your always interesting written contributions to this site. Best regards.
I've been meaning to leave a comment, but time has been a scarce commodity. What great inspiration you bring to the site, not only with your fantastic vision, but also by your encouraging and well worded critiques. Your abstractions are merely one slice of the pie, although they have certainly inspired some creative attempts (although not quite as successful) on my part. I can instantly conjure up images of yours that are among my PN favorites. There is always a lyrical and philosophical bent to your work, be it words or pictures. Always such a pleasure.
about time you gained a bit more notoriety around here but then, quality will always surface in the end. For me however there is a world of difference between an abstract and an abstraction.
Berenice Abbot once said: "Abstraction in photography is ridiculous and is only an imitation of painting. We stopped imitating painters a hundred years ago, so to imitate them in this day and age is laughable"
I agree strongly with that. But your work is rooted in "reality" however fluid a term that may be and for me that makes all the difference because you merely take photography (or if you prefer photographic technique) to the limit in a sense without trying to imitate another medium. As the many comments you make prove you have a deeply acute sense of aesthetics and it shows as much in your work and consistently so. As you know I play in another field photographically speaking but that didn't or doesn't prevent me being an admirer of your work ever since I got here.
Sincere congratulations Mr. B, because they are well deserved.
I'm a little late to the party (as usual) Like an aging second baseman, I don't get to the ball as quickly as I used to. Congratulations, Gordon, on being chosen Photographer of the Month; it's always nice to see one of our own honored and in your case it is certainly well deserved. I'd hate to see you considered simply an abstract photographer since your work "covers the waterfront", so to speak. There are some members here whose photos constantly surprise and delight me and you are in the forefront of that group. As with any truly interesting and creative artist, your work always reveals a curious mind and the new discoveries you have stumbled across in your journey. Stumble? Well, I guess as we get older we don't race through life anymore. But then there's really nowhere to race to; nowhere that's any better than where we are right now. So we can stumble merrily along and let life reveal her treasures to us. There's no hurry. Anyway, there I go wandering off the path again. So I'll just finish by saying good for you, Gordon and keep on keeping on. Banzai!
What stands out in your body of work for me is your elegant prose and B&W work Gordon. I’m afraid I’m no connoisseur of abstract photography and don’t feel I have the authority to comment on the particulars. Still, I need not be an expert to recognize (to feel) the contemplative dreamy quality of your pieces. Congrats and all the best.
I discovered Gordon by seeing his great dog photos and then I went on to discover his other work. He can do it all and is a great writer too. The only thing that bugs me about Gordon is that he is too nice. He doesn't fly off the handle and get obnoxious like I sometimes do and I think that makes me look bad by comparison. We are lucky to have Gordon here on PN, can't think of anyone more deserving of being the featured photographer. Don't leave us Gordon, we need you.
Gordon, heartiest congratulations! I love abstract photography. But did not know how to do it properly. I have learnt valuable lessons from your contribution. Thank you very much. Best regards.
Hey this stuff is amazing the colours are just right. I took some nice looking pictures on a Adox Sport 6x9 when in india take a look here at http://www.kaiatwork.com/india.html
It's great to see you recognised this way. I am often inspired, informed, and regularly challenged by your work, but never bored. Thanks, and please keep them coming.
Thanks to everyone who has left a comment , all of you continue to inspire and motivate me. Thanks as well to all the people who have sent emails rather than posting to this page.
Dan;
Poetry is close to my heart so I cannot think of any comparison which I would appreciate more.
Linda;
Thanks for the congrats , I think being distinct is something we all strive for.
John;
Thanks for such a thoughtful comment. It is an honor to think my work would in some way serve as inspiration to aspiring photographers. I also appreciate your comment for the fact that it introduced me to your well recognized and to borrow Dan's word " poetic " photography.
Phil;
Yeah I never really got that myself. I see paintings as paintings and photographs as photographs. The need to compare strikes me as misguided.
Marc;
Thanks , I likewise enjoy viewing your work and exchanging opinions.
Shayne;
Nice to hear from you, and thanks for the ongoing support.
Jeff;
Ah yes time, a commodity often in short supply. Our exchanges at PN continue to be a strong motivating factor toward finding the time to get to the site. Seeing what you've been up to or how you may have reacted to one of my photos and the lively bantering of ideas that can ensue defines this place for me. Thanks for your unwavering support and friendship.
Ton;
Thanks for the kind words and most importantly thanks for all the assistance and technical help you have generously provided both at PN and in your letters. Your honest and constructive critiques have helped me on many occasions to make improvements to my photography.
I have to admit I struggle to understand the quote you provided. Either this comes from a lack of context or it simple went over my head. I will say that I would never have chosen the term abstract to define what I do . In my portfolio I refer to such works as motion studies as this is how I see them. My work being " rooted in reality " is a defining aspect of what I set out to achieve.
I am no street shooter nor do I do high end fashion studio work nonetheless you and Marc and I and many others can all share an appreciation for what each other is trying to achieve and learn from one another in the process. I have never restricted myself to one genre either in my own photography or when viewing other peoples work.
Drew;
I have been given plenty to think about on many occasions while viewing your photos and the comments stimulated by them.
Mario;
I believe many of our more " abstract " photos have drawn us together over the years. It is always a pleasure viewing your work.
Jack;
Time , the great leveler catches up with us all and much to our surprise we discover that stumbling is indeed more enjoyable and educational than running full tilt. Good thing too , since running full tilt belongs to my past not my future.
I would disagree however with your comment about usually being late to the party. When I open my home page at PN to see what's new, I often find that yours is the first and often times the only comment on my latest uploads. Thanks for the unwavering support, your comments and encouragement mean a great deal to me.
Alberta;
Thanks so much. I ran your suggestion by Darwin and Maggie and they approve. Getting Josh on board may be a bit more of a challenge.
Carlos;
Thanks for the congrats. Sometimes our differences bring us together as much as our similarities. Your style and mine have many differences which in no way interferes with my great pleasure and appreciation for you photography.
Tim;
What can I say, we both love Pyrs. and that in itself sets us up as at least a bit outside the box. I love your pooches and your fog and that tree in the park and ....
Your wit and sense of humour are a perfect foil for your often deeply brooding photography.
I'll try to be less nice , I would hate to think I was making anyone else look bad.
Amal;
Thanks for the congrats. I am moved by the notion that I have been of help to you.
John;
You've been there from my first days here. Thanks for your kindness and for all that you have taught me.
Jen;
Thanks for the congrats.
Kai;
Thanks, I will find time to look at your link.
Jeff:
Thanks. I have learned much from studying your photos. Your eagerness to trade notes on technique and share methodologies makes our exchanges educational as well as fun.
Gordon,
I have to say that your work is absolutely amazing! Looking through just the pictures of this article gives me many ideas to try out. Your imagination is truly inspiring. Looking through your entire portfolio I see such a wide range of fantastic images. Thank you for including how some of these incredible shots were taken. I'm really looking forward to playing around with the camera! I have so much to learn! Congrats on being a featured member. After looking at your work, I can see it is much deserved.
Thanks for the kind assessment of my portfolio and welcome to PN. If you like learning there is a lot to be learned here. I am lazy and do not always post details of my photos however if anyone asks I am always happy to provide exif data as well as details regarding technique.
I really enjoyed reading you responses to both Josh's questions and to the comments below.
I consistently find your work engaging and provocative. I do not participate in such dynamic abstraction upon which your work often focuses, nor do I follow many other photographers who have such aims. As such, it is not surprising that I often do not fully connect with all of your resulting images. I suppose such experimentational approaches are unlikely to yield universally liked images regardless. However, when I do connect with your photos, they are among the most memorable and fully engaging images on photo.net. I can bring several of my favourite of your more abstract images to mind instantly (Skeleton Lake drive-by, The Spirit of Birch, Down and Around Upon a Leaf).
I found your discussion of abstraction vs. fully abstract images interesting as your images have always attracted me partly due to their reference of, and grounding in, the vestiges of the un-abstracted subject still present within your resulting photograph. I usually find such forms of abstraction particularly compelling and more compelling than many forms of pure abstraction (although, Riopelle and Mondrian remain among my favourite artists).
What I find most interesting is that I follow many photographers who work with the idea of abstracting from 'reality' to create such images. However, you are the only photograph whose work I regularly follow who is using motion as the abstracting element rather than relying solely upon composition, focus, and framing.
Your discussion of Italian futurism is very much apropos as I have often thought of their work when seeing your photographs. I also think of later Paris Dada/early surrealism and the interest in automatism when I see your work. The interest in discovery through process – even if you do not necessarily share their interest in exploring the unconscious. Your processes seem much more purposeful and guided.
Lastly, I think someone should mention how much your consistent creativity is none-the-less apparent in the non/less abstracted work you also share here on PN.
Whenever I am feeling in a rut, I go and browse your portfolio and I instantly realize how many other avenues I could be exploring and foolish it is to feel like I'm stuck. Your images are always an inspiration to try something new – even if I am not about to start working on motion-studies.
Gordon,
I just happened to see this on JeffS L's page. Congratulations on being featured, and I found this really fascinating! Even in non-photographic pursuits, I'm always wanting to know what is going on in someones' head......the whys and hows of their thought process, etc. As someone rather new to photography, I'm still trying to find my niche as a photographer. I like to shoot everything, and I can't really identify any modus operandi is......like methods, specific interests, particular skills, or any psychology behind why I shoot what I shoot. If Josh had asked me the same questions he asked you, I don't know that I'd be able to answer them. So thank you for your well thought out answers and revelations. I found it helpful and insightful, and I'm glad to have you as a friend here on PN. BTW, where in Canada are you from? If I knew at some point, I've forgotten. Thanks!
Perrception is a funny old thing! What one person can see through the viewfinder , another cannot, 'beauty lies in the eyes of the beholder'.
I look up into the sky and see a pair of eagles , the photrapher has to sharpen his observation skills.
Your vivid images show there are no limits, or boundaries. You have a great sense of form. Thank you for allowing me to share your insight.
