John Ripton
The people in these four images are in the distance.
John Ripton, Marrakesh Door, digital black and white photograph, 9 x 12 in., 2018.
Through the Marrakesh Door a family goes about its day.
John Ripton, Haiti, digital color photograph, 9 x 12 in., 2010.
In the room Haiti a man is burdened with his thoughts.
John Ripton, Manhattan Morning, digital black and white photograph, 9 x 12 in., 2007.
The shadows of pedestrians in Manhattan Morning trace the paths of strangers. The people in the High Line move to unheard rhythms.
I steal the images of people. It’s an invasion, I know. But there is something moving and mysterious in keeping the distance between me and the subjects I capture with my camera.
Image at top: John Ripton, High Line, digital black and white photograph, 9 x 12 in., 2019.
C. E. Morse – Beyond Recognition: A Series of Abstract Details of Found Objects
C. E. Morse, Eastport, photograph: digital capture.
Growing up a classic car enthusiast, I spent a lot of time in vintage salvage yards where I discovered incredible visual elements that inspired me the same way as did the great abstract painters; it changed my perspective.
C. E. Morse, Fijoles, photograph: digital capture.
I now hunt for this wild art from which I create fine art photographs. While the subjects of my interest may be deemed ugly, the details I capture are exquisite.
C. E. Morse, North Berwick, photograph: digital capture.
There is no reference to the identity or the scale of the subjects, coaxing a personal interpretation contingent upon the viewer’s imagination..
C. E. Morse, Vancouver, photograph: digital capture.
“It’s not what you look at that matters, it’s what you see.”
—Henry David Thoreau