Sagittarius Revisited—An exercise in creativity, collaboration, and credibility.

Posted on November 21, 2011 by John Ellsworth

The sun transits Sagitarrius (the Archer)
between November 22 and December 21.

According to astrological belief, Sagittarrius,
as well as Aries and Leo, are considered fire signs.
Generally, people with these signs search for things
that light them up, that create passion. They are
prone to sudden flashes of insight and enthusiasm.

Last summer, I walked the beach at Montauk, NY about 11:00 pm with my son and wife, shooting beach/ocean photos illuminated by the full moon. One of our successful photos is called “Beach Glow.”

On a weekend in October, I attended a class at Geneseo College, a New York State school, during parent’s weekend while visiting my son, Nick. The class was digital humanities. The professor talked about the availability of collaborative efforts in research and art. Among other things, he discussed ethics and credibility. If you read my blog entry “Beach Glow and Sagittarius” you know that my son Nick collaborated with me on the original “Beach Glow,” for which I credit him on each print. In the pursuit of creativity, collaboration and credibility, I now produce the second and third images as part of a triptych.

“Beach Glow” has become a successful image. I’ve been selling it on canvas in varying sizes for a year. On occasion, several customers, when shown the blog entry, have asked if I could produce a triptych as in the blog. I held off because of copyright issues. Shortly after attending the lecture on digital humanities, I researched the legitimacy of using the screenshot of Sagittarius rendered by Johan Meuris and discovered it is available under The Free Art License, which grants the right to freely copy, distribute, and transform creative works without infringing the author’s rights as long as credit is attributed to the original artist. So I went ahead and produced these three 12×18 canvas images in a black, hardwood frame:

Beach Glow and Sagittarius—a triptych

Here is an enlarged version of my photo and Johan’s Sagittarius, which I now call “Sagittarius Fire”:

Sagittarius Fire

I stapled the following info on a card on the back of the third image:

“The image of Sagittarius is based on a rendering by Johan Meuris.
It accompanies Stellarium, the free and open-source planetarium
software. The image was released under The Free Art License.”

I have been in touch with Johan, who lives in Belgium, to affirm his acknowledgment and agreement with my use of his rendering. He replied, “I am always excited to hear how people are using my constellation images. They were made to popularize Stellarium, back in my student days. . . With the images becoming widely distributed, the thankyou notes or requests to use the images somewhere have regularly given me a good feeling.”

I volunteered to either give him a percentage of my sales or send him a 12×18 image of the image. He said he would be thrilled if I’d simply send him a rolled up print of the Montauk beach photo without the constellation overlays. He said he likes it a lot and he’d rather not be looking back at his old work. I was happy to oblige and sent his photo in a mailing tube last week.

I can see why he may be drawn to the original “Beach Glow.” Take a look at two of his glowing night images, an illuminated tent—2009 and Golden Glows—2011, a guitar-playing threesome in the woods—both exceptional.

I could not have produced this image by myself. I had the help, skill, and aesthetic eyes of two other people: my son, Nick, and Johan Meuris. Nick helped me shoot the primary image, Johan rendered the original artwork of Sagittarius. And need I forget—while at an art show where first displaying “Beach Glow,” my photo friend, John Todaro, asked me if I had identified the constellation. I had not, and that’s where Stellarium came in.

In this case, I sought not to be the sole author of a work of art, but an agent in the practice that produced it.

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The house across the street—time and other interpretations

Posted on November 14, 2011 by John Ellsworth

Last night, while my wife, Elizabeth and I walked our dog, we noticed how the drifting clouds lent an eerie sensation to the sky as they revealed and covered the moon. I returned shortly with my tripod and new Canon Powershot S100 to see how the camera would handle a night shot.

Originally, I simply wanted to see if I could shoot the moon in various illuminated cloud configurations. I shot for about 20 minutes or so with the lens fully extended—several with the moon between pine boughs, some with it between the roof peak and chimney of my neighbor’s house. Then I noticed a single window light directly under the moon. I stepped back and recomposed so the window would be an element within the frame. I also set my camera to “P” mode to see what would happen (see below for photo file data). This is what I got:

The house across the street

I emailed the photo to my photographer friend, John Todaro, who got back to me early this morning by email and phone. Essentially, he said that he had a visceral reaction to this image. He said it evoked a deep sense of nostalgia and the passing of time.

I thought about that and recognized a correlation with his response—a synchrony—considering we have spoken about the passing of time, nostalgia, and the brevity of our lives on several occasions during the last several years. Regarding perception, we see what we are prepared to see, we see what we need to see. His feelings reflected his disposition, but I immediately understood they did so for me as well. I also recognize that someone else could have a very different interpretation or experience, or for that matter, none at all. It depends on what you bring to it. Recently, I photographed a scene which I see as depicting ongoing time—past, present, and future. It is my shot of “Life’s Path” in my blog entry Abbey of Genesee). In a way, this photo shows that I had a pre-disposition to fully appreciate John Todaro’s interpretation.

When speaking on the phone, we again discussed the notion of nostalgia, of looking back, but also that of looking forward. We both agreed these notions influence the choices we make regarding how we now spend our time.

In Western Culture, time is viewed as finite. Some sociologists have commented that it is a commodity—we spend it, save it, squander it, and earn it. Personally, I am at the point in life whereby I recognize my time bank is diminishing. So, when I look forward I am more apt to spend my time with more care and conscientiousness (and I hope with a continued sense of spontaneity and lack of pre-occupation with the inevitable).

There’s always been a notion by artists that creativity is a reflection of one’s inner self. That which is created is the manifestation of one’s self concept. It’s also been recognized that one can get a better glimpse of their own self concept by looking more carefully at what one creates. When I take photos, I do not analyze the metaphorical meaning of the scene. I shoot scenes that I connect with. I recognize a connection because there is a resonance. It doesn’t always occur, but I appreciate it when it does. In terms of what an image may mean, it may be days, months, or years later that I discover a figurative meaning associated with an image. And as often as not, no meaning surfaces.

In the case of the “House across the street,” I have a more immediate appreciation and connection with a photo I took after walking my dog last night and having a chat with my friend, John, this morning.
_________________________
—photo file data: Image shot in P mode. ISO 1600, ƒ/2.0, 1/8th sec, pattern (matrix) metering, on tripod.

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Car hood as autumn palette

Posted on November 9, 2011 by John Ellsworth

I recently bought a Canon Powershot S100. For me, it was the best pocket camera available. Best, meaning it provides easy control over an extensive range of variables, plus it shoots in raw.

This morning, not thinking photography, I summoned my dog for a walk in the Northport’s village park. While strolling to my car, I saw a single maple leaf on the hood of my car. Reflected on the hood were various autumn colors. I reached for my Canon S100 and began composing and shooting. Here are the best from the batch:

Car hood autumn palette 1

Car hood autumn palette 2

Car hood autumn palette 3

Car hood autumn palette 4

What I like about the shots is that the hood becomes a “filter,” and diffuses the background somewhat so it becomes a nice contextual backdrop to the single leaf.

I have to say, it is likely I got these shots because I now carry my S100 with me all the time. I do not want to miss opportunity shots. That’s why I got the camera. It’s one thing to have your phone camera handy, but in my case, I’d like to have the option of enlarging any of my shots to include in my shows.
_________________________
—photo file data: All mages shot with a Canon Powershot S100 at ISO 80 at 26mm and hand held. Image 1: ƒ/6.2 at 1/30 sec; image 2: ƒ/5.9 at 1/30 sec; image 3: ƒ/5.9 at 1/40th sec; image 4: ƒ/7.1 at 1/25th sec.

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Abbey of the Genesee

Posted on October 24, 2011 by John Ellsworth

This past weekend, my wife and I visited my son, Nick, at Geneseo College of SUNY. It was parent’s weekend. While there, we explored the surroundings of this small liberal arts college nestled in the rural Genesee River Valley in western New York. Among our side trips was a visit to the Abbey of the Genesee.

Abbey of the Genesee

The abbey is a community of monks living according to the Rule of St. Benedict who strive to seek God and follow Christ while following a school of brotherly love. The monks dedicate themselves to contemplation while worshipping God in a hidden life within the monastery. To help sustain their lifestyle, the monks bake nine varieties of bread which is sold on the property at their bread store. The bread is appropriately named, “Monk’s Bread.”

I confess (ironic, I am not at confession), I do not follow a traditional religion, although I strive to practice ethical ways and believe in a greater power. The ways of religion intrigue me because I appreciate contemplation. It is one of my favorite ways to spend time. I also appreciate solemness and respect those who worship a greater being. So, I was drawn to the Abbey’s chapel. We (my wife, Elizabeth, and son, Nick) strolled in. We were alone. The tranquil ambiance of the space induced an immediate internal quietude. We sat down and became transfixed. The chapel is a compelling space; a spiritual space.

Here is the western wall of the chapel:

Chapel's Western Wall

And the eastern wall:

Chapel's Eastern Wall

After some time in the chapel, we strolled outside to witness a monk and fellow citizen praying in the burial ground adjacent to the abbey. I was struck by the simplicity of the markers—we really need no more.

Life's Path

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Boundaries and Pathways

Posted on September 23, 2011 by John Ellsworth

For the last decade, I have built my photo reputation based on most of my water shots—harbor fog, reflections, boats at ease, and some shore scenes. So when I’ve gone out to shoot, I felt a need to continue with that genre.

Lately, I’ve recognized that approach has impeded my creativity and desire for self expression. I started to realize I was captive to self-imposed boundaries. A few weeks ago, while walking my dog along a beach lined with a granite boulder seawall, I came across some patterns and images with small rocks lodged within crevices. I was fascinated and inspired by what I saw—boundaries and pathways—metaphorically speaking.

I returned another afternoon with my primary camera and tripod and spent an hour and a half photographing several abstract patterns that lay within the boulders. I present four here, which, to me, figuratively illustrate confinement and guidance.

Captive

Ascending Trail

Boundaries

Sidetrack

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UNC’s Place

Posted on May 7, 2011 by John Ellsworth

On one of my family excursions, we passed an abandoned house on the Eastern Shore of Maryland, not far from Ocean City. A half mile down the road, I turned back. Couldn’t resist.

Eastern Shore Farm House


I walked around for awhile looking for beauty or intrigue in a house way beyond its years.

Diamonds in the Rough I


Diamonds in the Rough II

After awhile, I noticed my younger son, Nick, shooting photos inside the dwelling. I followed him in and found a sign of recent “ownership.”

UNC's Place

On the way out, I paused to shoot UNC’s garden:

UNC's Garden

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Montauk Marquees

Posted on April 10, 2011 by John Ellsworth

The hamlet of Montauk is located on the east end of the south fork of Long Island. It’s a mecca for deep-sea fishing, surf-casting, boating, surfing, beach combing, sunbathing, and late-night beach fires. And naturally, the town hosts a multitude of seafood restaurants, hotels and bed and breakfasts. The town is sometimes known as “The Last Resort,” “The Living End,” or simply, “The End.”

Montauk Point Light has been photographed endlessly and has become the signature photo subject of this beachtown getaway.

Montauk Light

That being the case, I’ve added a few photos to my Montauk gallery which seem to represent at least two of Montauk’s attractions: Deep sea fishing and beachcombing.

“Montauk Transom” is the stern of the fishing vessel Jen•Lissa. When not on the ocean, she’s docked at Gosman’s.

Montauk Transom

“Montauk Profiles” features the Jen•Lissa as well as other noted fishing vessels that call Montauk their homeport.

Montauk Profiles

“Montauk Driftwood” is a carving by an unknown artist of a face looking upward (as if sunbathing), some foot prints on the top of the log, and “Montauk” inscribed on the side in rhythmic calligraphy.

Montauk Driftwood

Although a native Long Islander, I have not fully explored the charisma and draw of Montauk. With these images, my venture begins. Last week, I was fortunate enough to be shown around Montauk and its environs by a friend, Dennis O’Reilly. He’s been living there for about 25 years. We hadn’t seen one another for 10 years or so, until about two years ago. Our paths intersected while I was participating in one of Montauk’s art shows. Finally, after Dennis’ open invitation, we got together last week.

In a 4-wheel drive, Chevy pickup truck, Dennis patiently escorted me to beaches, bluffs, trails, coves, ponds, parks, lakes, and the ocean. With a running dialog, he told me about the lore and geology of this intriguing place. I’m destined to go back, but not for a mid-day shoot. My visit with Dennis was simply a survey. When I go back, it will be for a few days. Spending some time with my “new-old” friend and trying to capture some of the mystique of Montauk will be on my agenda.

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Northport Harbor Panorama via iPhone

Posted on March 23, 2011 by John Ellsworth

Northport Harbor via iPhone

I witnessed this early morning scene last week with the rising sun at my back. I was without my primary camera and tripod while walking my dog. Fortunately, I had my iPhone. I used the top of a dock piling to position and rotate the iPhone and snapped eight images from south to north, overlapping each about 30 percent. l merged the images with Adobe Photoshop. Low and behold, with a little cropping, noise reduction, brightening, and sharpening, I obtained this image.

The center of the image is west, that being Centerport. The open waterway on the right, or north, is the passage to Northport Bay and out to Long Island Sound.

Although nice as a small image, I don’t think its integrity would survive as a large print. All the more reasons to ALWAYS have a good camera available.

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Harbor fog—three elements in accord

Posted on January 7, 2011 by John Ellsworth

Sunday morning, January 2, was foggy. Around 8:00 AM, my wife, Elizabeth, suggested I shoot some harbor scenes. She said she’d walk our dog while I photographed. I checked online and found the fog would clear about 9:00 AM about the same time as high tide. Also, the harbor would likely be still because of no wind or boating traffic. Three elements—fog, still water, and high tide—would be intersecting; all in my favor. The fog shrouds the background and visually simplifies most images; the reflections duplicate, or repeat interesting elements; and the high tide, in this case, makes the dock more visually slender.

I shot for a half hour or so, about 30 photos. Early in the shoot, I focused on two primary subjects, an old clamming boat that’s been moored inside the dock inlet during many of the past winters. It’s really worn and shows its age. At this spot, the two dock walkways form a right angle. To keep it off the docks and prevent getting more beat up, the clammer ties a line off the bow and stern to the dock fore and aft. The boat and lines form an hypotenuse between the two walkways. There is sufficient slack in the lines to accommodate the 8-foot tidal range. The boat has been a subject of mine in the past (“One Bag Full”), as I’m sure it’s been with other photographers. Here’s one of the photos:

Veteran

After several shots, I turned my attention to the harbor. There were still a few lobster boats on their moorings—most of them had been moved to protective waters for the winter. The scenes lent themselves to some interesting compositions when birds paddled by or flew above. Here is “Escorts.”

Escorts

Around 9:00, I noticed the fog clearing allowing the blue sky to reflect in the water. This combination lent a surreal affect to the village dock and to the working craft at Seymours Marina. I had about a five-eight minute window before the blue sky disappeared.

Following are the best three shots of this short-lived clearing:

Clearing—1

Clearing—2

Clearing—3

It’s rare that a single photo shoot will yield more than one image that resonates with the photographer. As often as not, you may spend a couple of hours shooting—working a scene—and simply return with nothing that chimes.

I was fortunate this day and glad Elizabeth made the suggestion.

Posted in boats, fog, Northport, reflection, workboat | Tagged , , , , , , , , | 6 Comments

The trawler, “Jolie,” portrayed in paint

Posted on October 2, 2010 by John Ellsworth

As mentioned in the previous post, I enjoy viewing traditional vessels, especially if they tie up at our town dock in Northport. During the last three Junes, the Northport Arts Coalition has sponsored a weekend plein air activity. Painters set up and paint most of Friday and Saturday morning. By Saturday afternoon, they may submit framed, finished work to a local gallery, LaMantia, for an auction held on Sunday. So far, the event has attracted many exceptional fine artists who have sold their work at the Sunday auction.

In 2009, I photographed some of the artists at work, trying to compose the painting in progress as well as the actual subject or scene of interest.

On Saturday morning, before I got out of my car, I saw a very appealing trawler—classic in design—cruising by nature. I was immediately drawn to her. When I saw her closer up, my spirit became a shimmer. She appeared so functionally beautiful.

The Trawler, Jolie

I walked the dock and intercepted the owner and skipper, Kevin Kearney, of Annapolis, MD. He told me she was built of steel in 1966 in Tarpon Springs, Florida. Her design is based on a workboat. She’s 45-feet long and has a 13-foot beam. He refers to her as a Sutton Steel Trawler, named after the shipyard in which she was built. Said he’s the second owner and has owned her for 10 years.

“What’s her draft? The water gets shallow here at low tide.”

“Six feet,” he said. “According to my charts, she’s probably okay here.”

“How did you come by the name, ‘Jolie’.”

“It means ‘pretty’ in French.”

“That’s a fitting name. Being a “pretty” workboat reinforces my view that she is functionally beautiful.”

I asked Kevin if he intended to stay through the weekend. It was likely some painters would use “Jolie” as their subject. He said he was aware of the event and was hoping to see what renderings emerged. If he liked one, he would attend the auction on Sunday.

As I left the side of “Jolie,” I soon realized at least two painters, Paul Bachem and Doug Reina, had begun to portray “Jolie” on canvas.

Paul Bachem, of Locust Valley, NY, paints a port-bow perspective from the dinghy dock:

Paul Bachem painting Jolie

Doug Reina, of Stony Brook, NY, paints a broadside view from Northport’s park:

Doug Reina painting Jolie

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