Click on an image to enlarge it.

Barge Bumps

Barge Bumps

Curb Appeal

Curb Appeal

Liberty

Liberty

Siren Of The Sea

Siren Of The Sea

Storm Approaching

Storm Approaching

X Marks The Spot

X Marks The Spot

 

Interview With Charlann

Most of my abstract photography has been from inspiration within rather than from that of a particular photographer. However, I have always admired the urban photography of George Tice. His work has been an inspiration for some of my own urban street photography which has led me to discover abstract images in everyday settings.

EWW: Are there any themes that consistently occur in your work such as style, color, perspective, lighting movement, etc.?

Charlann: I have always been fascinated with the interplay of line, shape, color, and texture. My never-ending quest for unique and original abstract images always leads me to random patterns of texture, shapes, lines and color found on walls and other surfaces. Flowing lines, organic shapes, saturated colors and grungy textures are the common thread of most my abstract images. My love of artistic composition and design has an overwhelming effect on how I choose my subject matter and what becomes of it after capture. I may labor for hours or discard an image immediately if it is not to my satisfaction.

EWW: Your portfolio includes many subject categories. Is there one that is particularly you like to work with? Why?

Charlann:  “Abstract Photography” as showcased here in this interview is the category I particularly like to work with. I am extremely driven to discover images abstracted from everyday sources rather than the typical landscape, still life or portrait. Many of my abstract photographs are derived from portions of textured walls, rusted items, weathered surfaces and the like. Once they have captured my eye, I begin my photographic journey. Stimulated by what I have discovered, I feel an insatiable urge to turn the image or a portion of it into a work of art in its own right. The discovery process is very rewarding and fuels my desire for this type of photography.

EWW: Do you use social media platforms to generate exposure and the marketing of your work? If yes, which social media platform(s) do you find to be the most successful for you?

Charlann: Currently, as far as social media goes, I am only using Facebook and my website to generate exposure of my work and find that it is very limiting. I expect to expand to other areas of social media in the near future. My website is set up and featured as a gallery rather than a marketplace, but it does contain current listings of all of my exhibitions and gallery shows throughout New Jersey and New York as well as an inventory of awards that I have received for my images. In addition, I have recently become very active in online exhibits and competitions and have been very well received in these areas.

EWW: Just to wrap up this interview. Do you have any final thoughts about you and your work, which you think would be important for others to know about?

Charlann: The abstract images in my portfolio are diverse. The majority of them are created from natural occurrences, such as rust, decomposition, erosion, scaling and flaking paint on surfaces. Others are created by the hand of man. Nevertheless, each image bears its own identity and has its own beauty and appeal. It is those images which excite me the most…the accidental randomness of the elements of art amassed on a visible surface…the obvious “unidentifiable” subject matter which holds the viewer’s interest and piques his curiosity.

What I see and capture must satisfy both my eye and my soul and also have a visual impact that will evoke a feeling or reaction within the viewer with whom I strive to have a similar connection. Since my photographs are conceived with the notion to be seen, pondered and enjoyed, the emotional connection with the observer completes the intent of my artistry.

 

Website: http://www.charlannmelusophotoart.com/

 

Click on an image to enlarge it.

Upcountry Maui

Upcountry Maui

Photographer

Photographer

Honolulu Sunset

Honolulu Sunset

Night Lights Dresden

Night Lights Dresden

Red Sheet Venice

Red Sheet Venice

The Dance

The Dance

 

Interview with Ron Colbroth

EWW:  What would be your comments about your work, as a whole?

Ron: I find it hard to judge my own work without sounding too egotistical. Generally, I am trying to see the world from a different perspective. Of course, I don’t always succeed, but I have been told that I do see the world a little differently and appreciate those comments, especially when it comes from someone I respect. Although recently I was submitting to a competition in Athens, Greece, and was trying to decide on a couple of photographs to leave out, my wife said she loved those particular photos and I should include them in my submission. As it turned out, both the photographs were picked – one for the gallery and an additional one for the catalog, so there are days when I am not sure if I am the always the best person to judge my own work.

EWW: Ron, in your Fine Art Section of your portfolio you use black & white with a placement of color only on one object within the photograph.  Why is this?  What are you trying to achieve by doing this?

Ron: Strangely, it started with a blue surfboard. I had shot a photograph in Honolulu of a surfer coming on to the beach with a blue surfboard and thought about converting the photo to a B&W photo and having the blue of the surfboard as the only color. I like the result, so I started playing with other photographs I found interesting. I talked to those few trusted friends and their enthusiasm spurred me on. I published one book titled RED through blurb.comand has two more in various stages that will hopefully be finished soon. Also, jurors have been responding well to these photographs and several have been in multiple juried shows.

As far as what I am trying to achieve, again that is a difficult question, but I am just trying to bring out something in a photograph that would be lost, if I didn’t convert an image to B&W and then bring out an aspect that, I think, is unique to the photograph. One example is Bordeaux Blue.  I was just wandering around Bordeaux when I turned a corner and saw a shutter and a bicycle underneath, which were the same color blue. When I returned to my office and saw the photo on the computer screen, I thought is was nice, but could be improved, so now your eyes are drawn to the shutter and bicycle.

 

EWW:  What do you look for in deciding on what to shoot?

Ron: I suppose some aspect of color or design, but I don’t always succeed, of course. No one does. There are days when I think I am shooting the greatest photographs ever, but later looking at them on a computer screen and realize that they weren’t the greatest photographs ever. Then there are other photos that seem just okay at the time, but they really are truly wonderful. Once during the days of film, I was given ten rolls of film by a Japanese photographer friend who worked on a magazine put out by Konica. I was told I could shoot anything I wanted and they would publish the results. I was on my way to Portugal, but as I started shooting, I realized that if I shot and constantly bracketed that I would probably send the magazine ten photos for possible publication, so I started thinking about every photo I shot. Unless the lighting was tricky, I never bracketed. I was able to send sixty-five photographs and got the front cover, back cover and five pages inside. I still shoot like that with digital cameras. I think everyone should try an exercise where they don’t look at the camera display and pretend they are shooting film because I think they will become better photographers.

EWW: Excluding subject matter, are there themes that consistently run from one work to the other such as colors, perspective, lighting, movement, style, etc.?

Ron: These days I look for single colors in various scenes since I am doing these conversions to B&W. I love shooting with a wide angle lens, especially a 24mm. Ever since I first looked through a camera with a 24mm mounted on it, I have been in love with perspective. I love it for street photography, portraits, etc. I mainly use natural lighting and love working in the early morning and late afternoon. Of course, inclement weather and fog are wonderful, too.

EWW:  What do you see, or have experienced, as the most effective way for you to market and promote you and your work?

Ron: I belong to a couple of art organizations here in the DC area that has done a good job of maintaining websites where artist’s work can be viewed, which has led to my work being solicited for a solo show and also shown on Maryland Public Television. I also have been entering more and more national and international competitions, which have gone well. I am very selective about sites where I sell my work but have found a couple that is very professional and well run.

 

EWW:  What is your philosophy about Social Media.  Do you use social media platforms to market and promote your work?  If you do, which social media platform seems to work the best for you?

Ron: I don’t use Social Media as much as I should, although it works well for some photographers. I find it hard to constantly bombard people about myself. I have a personal Facebook page but don’t have one for my photography business. I did use it to solicit votes for a completion last year, which worked out rather well. I have a Twitter account that I post on infrequently.

EWW:  Just to wrap up this interview, do you have any final thoughts about you and your work that you think would be important for others to know about?

Ron:  I hope I never have the hubris to think that I can’t keep exploring photography in new ways or learning from others. I recently read a book In Montmartre: Picasso, Matisse and the Birth of Modernist Art by Sue Roe. It was very interesting to learn how these artists struggled, but they also learned from each other and were constantly changing the face of art as they saw it. Some people love your work and others don’t, so just be true to your own vision, if you strongly believe in your vision.

 

WebsiteRon: www.roncolbroth.com

 

 

EWW: What would be your own comments about your work?

Marcus: I think of my photography as a growing series of images from “the field,” exploring the transient quality of light and our fragile physical environment. As an avid hiker, I’m especially drawn to less traveled locations like the national monument lands in Northern Arizona and Utah. The exposed geology in places like Vermilion Cliffs and Grand Staircase Escalante is truly amazing. Lately, I’ve also been shooting man-made urban landscapes, both here in the states and in Europe. It’s very much an ongoing process, mainly built on the study of lighting and composition.

EWW: What photographer or artist, past or present, has been an inspiration to you and your work? Why?

Marcus: That’s a tough question, as I’ve been deeply influenced by so many painters, photographers, and music composers. I’m especially inspired by painters of the Impressionism art movement – Claude Monet and Camille Pissarro – and their exploration of color and light. I’m also moved by the photographic works of Alfred Stieglitz, Ansel Adams, Edward Weston and Art Wolfe.

EWW: You sometimes use black & white instead of color. Why is this and how do you choose whether an image should be black and white or color?

Marcus: Because my initial foray into photography was in black and white, I somehow tend to think of the outside visual world in monochrome. With today’s digital cameras, we can shoot the scenes in color and later convert the images to black and white. Still, when I’m on-site shooting landscapes, I often have a strong sense that a particular scene is best depicted in black and white. While there are exceptions, these scenes typically have strong cross-lighting, dramatic shadow areas, and a full grayscale – from pure white to pitch black. The more powerful monochromatic images also tend to feature bold structural elements which pull the viewer into the scene.

EWW: What do you look for in deciding on what to shoot?

Marcus: Pristine scenic areas without people are my favorite places for landscape photography. The locations need to be accessible during the times when the light reveals a magical quality, specifically during pre-dawn, evening “Golden Hour” and just past dusk. Many state and local parks have restrictive day-time public hours, which makes trip planning a real must.

Lately, I’ve been intrigued with photography leveraging natural light diffusers like fog, reflected light from illuminated canyon walls and pink dusk Aplen glow. I do quite a bit of research on hiking locations and “pre-visualization,” trying to identify locations likely to support these ephemeral lighting conditions.

EWW: Excluding subject matter, are there themes that consistently run from one work to the other such as colors, perspective, lighting, movement, style, etc.?

Marcus: Yes, and I am trying to expand beyond my familiar, most often presented nature themes. It is easy to become complacent and overly patterned in landscape photography. That said, most of my images are taken from broad, wide-angle vantage point – like that of a sweeping vista – with emphasis on the interplay of light, repeating patterns and textures in nature. My composition style tends to display a high level of detail in all parts of the image, from “corner to corner,” as opposed to subject matter with a strong central figure.

EWW: What is your philosophy about Social Media. Do you use social media platforms to market and promote your work? If you do, which social media platform seems to work the best for you?

Marcus: While the Internet is still, in many ways, a mystery to me, I’ve become a big fan of social media platforms to showcase new images and to communicate with other photographers. Most recently, I’ve posted I-phone photos and brief videos during our photography treks, and these have been well received. I make regular postings on my Facebook business page, Twitter and LinkedIn, with backlinks to my website. I have also tried using Tumbler, but have had no success with this platform.

For me, the downside is the large amount of time involved in social media exchanges, as I feel compelled to reply to questions and comments in a timely manner. While these exchanges can be fulfilling and helpful in promoting my portfolio, I find myself thinking that this precious time could be better spent outdoors shooting.

EWW: Just to wrap up this interview, do you have any final thoughts about you and your work that you think would be important for others to know about?

Marcus: First, thanks for the opportunity to discuss my photography and for providing the Exhibitions Without Walls outlet for digital artists. A note of deep appreciation goes to my family and friends, who have been so supportive of my photography over the years. Also, my thanks to the environmentalists, park rangers and others who preserve our precious lands. We’re so fortunate that earlier generations had the foresight to create a system of national parks and protected lands.

With everyone now carrying smartphone cameras, I’m pondering what the future holds for landscape photographers and fine artists in general. The long-term scenario, I think, holds an increasingly specialized and narrow niche for fine art landscape images. For those of us seeking to remain viable in this field, our challenge is to creatively define and redefine this space. Painters and other artists have faced similar challenges, with innovation leading the way to fresh genres.

This interview has prompted me to think about my future photography ventures, while also reinforcing my strong inclination to spend more time in the field. Throughout my journey as an artist, nature has always been a place for quiet exploration and discovery. It’s the place where natural light converges with composition, technical realities and the prospect of creating truly fresh images.

So, with that in mind, I’m redoubling my planning efforts for our upcoming photo trek to Bryce Canyon and Cedar Breaks national parks in Utah, and next for a return trip to Italy. So much to do, with endless photo ops just ahead …

Website: http://www.mwrphotos.com/

Blog URL: http://www.mwrphotos.com/blog

Facebook: https://www.facebook.com/mwrphotos/

Twitter: https://twitter.com/mwrphotos

 

 

© 2018, Exhibitions Without Walls.  All rights to an individual image or set of images submitted for this competition and exhibition are retained by the photographer or digital artist. No copy can be made without the express permission from the photographer or digital artist.  Contact address is 1907 NE 17th Place, Cape Coral, FL  33909

error: Content is protected !!