Page 146 - Spring Book 2020: Finding Peace in a Restless World
P. 146

 am addicted, to be clear, with the process of the ’how’ in images. The work of capturing images on film or digital- ly, developing, printing and finally exhibiting the result, my art, a Zen-like experience.
I enjoy shooting on film and digitally with a variety of cameras including, 4 by 5, Medium format and 35mm. I attend photo workshops, lectures and exhibitions to continue my journey of self discovery. In the process of photographing, I find the who and how I am.
The photographs included in this presentation are those that have a certain feel or give me pause to medi- tate. They may or may not voice an opinion but, simply, it is that I like them.
my seahorse, half the size of my fingernail, to the shark, much larger than I, I learned about wildlife and about creating images.
I broadened my interest to making images of animals from land but was still entranced by the water. Many of my land images are of animals related to water. I want my images to show who they are, the choices they make and their presence.
Yuki Saito-Miller
I’ve always loved looking at family albums. Candid mo- ments of daily life fascinated me the most. Pictures of myself as a little girl, with my older sister nearby, gave me a glimpse of our life, which my distant memories
 In my photography work, I seek to capture the essence of liminality - the forms of transition between the states of being, between the stages of life, between the times of day, or any other fleeting moments of tran- sition that occur on a grand or a small scale.
 Daniel Miller
I’ve always loved the Ansel Adams statement that “There is nothing worse than a sharp image of a fuzzy concept.” My understanding of this quote is that the need for all of the bells and whistles of high-end equipment to make powerful imagery is nonsense. This was always great news for a struggling student who couldn’t afford all the bells and whistles of high-end equipment. My idea was to turn his adage on its’ head and make fuzzy pictures of sharp concepts. I am sure this was the basis for my attraction to plastic toy cameras and low tech solutions. I decided that’s I would rely on the purity of the image, regardless of the camera used. Nowadays, all of this is a fairly moot point. Photography continues to become more and more "sharp" with even the simplest of tools. My sharp concepts of fuzzy pictures are now hiding behind a series of software and digital filter choices to "dumb down" the image. Still, I strive to be reliant on imagery and can choose my level of "fuzziness," letting the sharpness of the concept find its way through.
Mike Miller
The ocean drew me in to visit a world not my own. I wasn’t thrilled with the one I was in anyway. I discovered the animals, of such great variety and beauty. I wanted to celebrate them in images, both to acknowledge them and to capture their essence. From the smallest pyg-
– Lala Mamedov
failed to provide. I took them for granted until I realized they were all taken by my mother. Ever since, I began to see the photographer –my mother– in those images. It was an interesting turning point for me. Photographs are, really, about the photographer – what she cared to see and notice; how she felt about it. I have two boys of my own now, and take candid pictures of them all the time. The boys may only see themselves, but their pictures are all about my love for them, and how I see the world with them in it. They are indeed my light and delight.
Margaretta Mitchell
Margaretta K. Mitchell is a well-established photogra- pher, artist, writer and educator. Besides photographic commissions and portraiture, she exhibits her fine art photography nationally. She is the author of five books, including: Gift of Place, To a Cabin, Recollections: Ten Women of Photography with a traveling show exhibited at seventeen American museums; and Ruth Bernhard: Between Art and Life. Her book, The Face of Poetry features black and white portraits of remarkable Ameri- can poets set in conversations with their poems. Iconog- raphies and Island Dreams are the first two in a series of books which focus on bodies of her work in photogra- phy, published under her Elysian Editions imprint.
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