John Ripton 

The people in these four images are in the distance.

Ripton 1 MarrakeshDoor

John Ripton, Marrakesh Door, digital black and white photograph, 9 x 12 in., 2018.


Through the Marrakesh Door a family goes about its day.



Ripton 2 Haiti

John Ripton, Haiti, digital color photograph, 9 x 12 in., 2010.


In the room Haiti a man is burdened with his thoughts.



Ripton 3 ManhattanMorning

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. MorseBeyond Recognition: A Series of Abstract Details of Found Objects

Morse 200 Eastport 2425

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.

Morse Fijoles 413 200

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.


Morse North Berwick 83 200

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..

Morse Vancouver 91 200

C. E. Morse, Vancouver, photograph: digital capture.


“It’s not what you look at that matters, it’s what you see.”

—Henry David Thoreau