More digital monoprints and a selection of photos

Hello everyone.

NOTE: If you are looking at these images with a laptop, the colours MAY seem undersaturated, depending on the particular unit. A desktop computer, should show a better colour representation.

I managed to get this post out in good time, non of that ,"Wait 3 months" business.  I've got most of the images for the post after this, sorted out. Hopefully, I'l put those online in a few weeks.

This selection of images is equally divided into two distinct types, 12 of each. The first are my new digital monotypes. After seeing the last post, I had an email from one of my viewers. (Hi, you know who you are, thanks for the mental push).He told me that they almost looked like real paint. I was very pleased. As I thought about that, I decided to see if I could improve on the techniques I'd come up with already.  I wanted to make them look even more like real paint, if I could. I've spent a long time since the last post, working toward that aim. I hope I've succeeded, or at least got nearer to my intention.

The second set of images are all in the, "Art photography" style. I'll start with the digital monotypes. As always, I will not make comments about any images here, unless I feel they need it.

The first image does not fit into the digital monotypes heading. It's more in the abstract experimental group. I particularly like this one. It was going into the last
post, but never made it.

Blue Figure.

Now for the digital monotypes. 

Where an artist lives, tends to influence the work they make. This is not a hard and fast rule, by any means. However, you can't live in the mountains, on the moors, or by the sea etc,. for long, without being influenced by your surroundings. I love the sea, some of my work reflects that. More of my art and photography relates to the moors, woodlands and the rugged shape of stone and rocks, as will be seen below.

Earth Goddess.

Eve's Top Quarry Diptych.

The title for the piece below, comes from a small area just less that 3 miles higher up the hill than I live.

Far Barsey.

Great Scar Quarry is a disused quarry, about 6 miles from me, up on the high, wild, open moor. It's a place I've loved since I was 7 years old. I go there when I need solitude. These are 2 rock studies of it.

Great Scar Quarry #1.

Great Scar Quarry #2.

Ley Line Map.

Reaching Up.

Rock Spur.

Another rock study.

Suddenly.

The Kiss.

Under Growth.

Now the photography. Once I'd selected the shots for this post, I realised that 5 of them connected to the sea in various ways.

I've mentioned this before, but one always gets new readers, so here it is again. When I go out on a photo shoot, I hardly ever have a particular goal in mind. I wander about the place I've gone to for a while. This allows me to slow down to the rhythm of the woodland, or moorland. That way you are more receptive to the environment. I don't actively look for subjects to photograph. Something will present itself to me in it's own time. I NEVER arrange a photo. At the very most, I may remove a blade of grass, if it's in the way. I simply photograph what I find.

I came across the two images below in Old Hunstanton, Norfolk. They were behind the lifeboat station and only about 6 feet (1.8m) away from each other. They were far too good an opportunity to miss. I often wonder how many people walk past the most wonderful things, without ever seeing them. 

Beach Still Life Diptych.

The two images in diptych below were taken 15 - 17 years ago. They are also over 400 miles apart. Both were on the coast. Every now and then, I find something and think, "I took a shot like that years ago, I'll take this one as well." The metal button was just sat on top of a breakwater. Had I been there later, the tide would have taken it away. I was there at just the right time.

Old Wood with Button.

The top photo of the next image was on a stone gatepost. A farmer had been repairing the fence. He must have put the dead twigs there as well. It leap out to be photographed. Two years later, we had a moorland fire on the edge of a wood 10 minutes walk from me. It was started by kids. "Lets destroy something lads, it's lots of fun." SIGH.  When I saw the burnt twigs on a stone, I remembered the other photo. My mind made the connection between them immediately.

Zen Koan Cypher.

Patterns are repeated over and over, as the image below demonstrates. The photos were taken years apart and in very different locations. It's amazing.

Circles.

I was in the room of a friend of mine, when I saw the light from the window change, along with it's quality, as traffic passed by. I had to use my phone for these photos.

Moving Light Triptych.

Below is a detail from a burned out mill. The same mill was the subject of  the very colourful piece, "Light Up The Town" in my last blog post. How's that for continuity?

Narrative.

The next photo is the inside of a steam railway engine, in the York National Railway museum. It was an abstract sculpture pleading to be photographed.

Abstract Engine.

The next three images are all related to the sea.

Metamorphosis.

Beach Wreck.

Sea Groins Detail.

I showed a photo which I had distressed by hand, in my last blog post, (Climate Change). I decided to try and create a similar effect digitally. The result is below.

Mythic.

Now the last photo in the post. I was in Leeds City a while ago, photographing buildings. Yes, I certainly know how to have a good time. The photo is a small part of a huge British Telecom (BT) poster. I saw the colour, the curve, the word "be" and the lamp post, it was perfect. It seemed to be a message about being true to oneself.  Up with the camera, & Click!

Be.

I hope all that gave food for thought. for some of you. My next post will have some great photos of trees in. Plus other subjects I've not yet decided on.

Be kind to each other. Gordon.