Reflections on Portraits Behind Windows and a reminder: my upcoming presentation at the Opera House
Aug 24, 2018
One unexpected development in my Havre de Grace Street series is its branching out into a number of sub-sets or series. I knew First Friday might stand alone – but that's just the beginning. Within First Friday is a developing body of work at Cliff Giles' Drum Circle – and that will probably only expand. It's all looking like I'll have to find some innovative way to reorganize and categorize posted groupings.
Then there are the local Rogue Swan performances, many of them free to the public. That collection is growing. As is anything I've gotten from being allowed in at the Opera House. The list is growing. And now I've begun a series of iPhone shots – only speculating that I will continue this with the iPhone, but it looks good for noe – looking in the window at Pam Wilde painting her series of Havre de Grace portraits. I posted the first one last week and am adding five more here.
I'm enjoying this series, even if it is a tad demanding. Fortunately I live about two minutes away – it's just that I have to watch the schedule on her site and catch them in the act between 1 and 4. Unfortunately (or fortunately) I missed the first half of the year of anywhere from one to four a week.
Even on this I find I prefer the B&W – heck I'm the guy who shot all of, at least my part of them, my family shots in B&W as the kids were growing up. They appear along with Nan's color snapshots in a HB family book I put together for everyone – the one book I'm proudest of. And the B&Ws? The backbone of the book – phenomenal.
Before this posting’s images – a reminder about my presentation at the Opera House Tuesday:
Reflections on Portraits Behind Windows and Street series to multiple sub-series:
The first shot is perhaps my favorite of this batch – so far, though that's a tough call. Reflections were more intense than usual that day so I took afdvantage of that and maneuvered so he was sort of sitting in the car. Sure a polarizer would "help" eliminate reflections, but their interaction with the subject is the point here. The subject is a John Casner.
Then, below, Paul Ishak:
Last but certainly not least is a pair on Jeanette Saurs – I like both for different reasons and am putting off deciding on one to see what others think. The first one highlights the subject well and shows my reflection without any real view of the painting. The second one paints the subject’s face on the car in the background, shows the painting and makes her look like something of a ghost in the street. There is actually a third good one in this series that just might surface – a sidde view featuring the hat, a great expression and a lot less in the way of reflections. Sometimes it’s not an easy decision, expecially in B&W.
Thsese will be added to the Havre de Grace Street section here sometime today or tomorrow……