Inside the Snow Globe, II, Hunter Hill, Hagerstown, Maryland, December 8, 2013

Inside the Snow Globe,  II, Hunter Hill, Hagerstown, Maryland, D

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Inside the Snow Globe, Hunter Hill, Hagerstown, Maryland, December 8, 2013

Inside the Snow Globe, Hunter Hill, Hagerstown, Maryland, Decemb

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After the Squall, 2 a.m., From Bill Roberts’ Porch on the South Side of Hagerstown, Maryland, November 18, 2013

Squall, 2 a.m., From Bill Roberts Porch on the South Side of Hag______

Squall, 2 a.m., From Bill Roberts' Porch on the South Side of Ha# # #

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Credit for the Banner of the Moment

Abstract surrealist painter William A. Roberts, whom I will persist in calling “Bill Roberts”, can paint pretty much any way he wants.  The engagement with “abstract surrealism” has come about by choice, but a glance at his works tells that he could just as well gear down into photo-realism, impressionism, classical painting, etc.

Portrait of Lady with Ruffled Collar, Graphite, 1980.

Portrait of Lady with Ruffled Collar, Graphite, 1980. (c)1980 William A. Roberts.

As I made the photograph of the drawing, I couldn’t resist going in close (Nikon D2x, 60mm Nikkor f/2.8 macro) for the eyes.

cropped-2013-11-25-d2x-a-040-2.jpg

Hagerstown, Maryland has its own stretchy art scene with the Maryland Symphony anchored in town and a nationally recognized annual blues festival and other regional to national events scheduled through the year.  It’s natural that some ready to transition away from the mess “over the mountain” to the east and south down the “technology corridor” to the nation’s capital should find the fringe beyond the fringe of the Capital Beltway (90 minutes northwest of D.C. here, about 70 minutes west of Baltimore).

As noted on the new blah business blog — I’ll pick up a premium theme when I can next afford it — and on Communicating Arts–The Journal, I’m methodically photographing a large body of spectacular modern art by “William A. Roberts” (whom, I repeat, I will continue to call “Bill”).  Basically, Bill has now to suffer with a low-key shooting alley in his living room.  Using black fabric — also black pants, black shirts, and a black hood: I look like an executioner) to block light and swallow reflections (quite a few of the works are under glass and we’re not taking apart the frames), I’ve managed to avoid reaching for a Polarizing filter.

Example of a Work Beneath Glass

Near Randolph Vermond, Watercolor, March 19, 1991

Near Randolph Vermont, Watercolor, March 19, 1991. (c)1991 William A. Roberts.

The out-of-town bohemian jazz atmosphere in which we’re working may provide for forgiveness when necessary, but I’m actually quite meticulous in searching for faults, especially unwanted reflections.

So far, so good on the William A. Roberts project.

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Blue Light, Red Light, On the Porch with Bill Roberts, 2 a.m., November 18, 2013

Blue Light, Artist’s Porch, 2 a.m., November Night, Hagerstown, Maryland, November 18, 2013.

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Bill Roberts, Artist’s Porch, 2 a.m., November Night, Hagerstown, Maryland, November 18, 2013.

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Blue Lantern, Artist’s Porch, 2 a.m., November Night, Hagerstown, Maryland, November 18, 2013.

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Red Lantern, Artist’s Porch, 2 a.m., November Night, Hagerstown, Maryland, November 18, 2013.

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Bill Roberts, Artist’s Porch, 2 a.m., November Night, Hagerstown, Maryland, November 18, 2013.

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About Those Latest Snaps

Road Snaps, South-Central Pennsylvania, November 18, 2013I’ve a buddy who stops in now and then to escape another anchorage and trade it for a few hours touring and conversation.

As we started this most recent hike on wheels, interest in photography was zero, and I almost left the apartment without a camera.

Gasp!

However, when I bought L. L. Bean’s “Sea Washed Guide Bag”, it was to have everything needed — main and spare keys, notebook and calendar, driving glasses, cell phone, pens, spare change, etc. — for going out the door, and that included the very good point-and-shoot Lumix Lx5.

I’d rather walk the streets and try out the diners of unknown small towns than drive all the time . . . and I would rather carry the Nikon D200 if or when casual touring photography is the known thing.

However, the buddy wants to drive.

And drive some more.

And that’s fine too.

Toward dusk, we drove into Mercersburg, Pennsylvania and defying, at last, the GPS’s instructions to turn left at the stop sign, we went through the “No Outlet” signed intersection and stopped at the end of the road.

Good thing.

It was good too stepping out of the car and into the snapping wind.

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A Comment on Art, Blogs, Photography, Politics, and Social Life Online

Road Snaps, South-Central Pennsylvania, November 18, 2013This is an old theme carried forward from this arty peacock’s Oppenheim Arts & Letters.

Basically, about ten years after the higher-bandwidth online journey began, we all had new gimmicks for taking our minds and spirits out into a new world, virtually, literally, a new civilization.  Facebook was in its infancy; Google+ did not exist: we could however read at our desktops the English-language editions of foreign newspapers; and we were introduced to publish-yourself blogging.

Oh boy oh boy oh boy!

Oh brother . . . .

I’ve been riding this wave for a while and trying to keep worlds from colliding and parallel universes separate.  My divisions in the most abstract and broad terms: academics and politics / business and commerce / real space family and friends / live journaling.

As there is only one you, my reader, I have learned that there is only one me and foregoing the spy’s possibility of keeping separate computers in separate neighborhoods managed by separate persona, the magnetic world is not only flat, it makes its individual nodes easily mapped.

Still, if you’re looking for wall-worthy art, why should you have to be bothered with Facebook wall-worthy political meme or the latest, most dismal story from one of the world’s conflict arenas?

Take it from the author’s side: I want a healthy business or, alternatively, a healthy integration with the global economy (abetted by global banking and communications with English the globe’s predominant international language): how many facets of personality and of dreaming should be Out There, whatever “Out There” means (and let’s keep that “out there” far short of its colloquial intimations among the bipolar and narcissistic sets).

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I’d like to see Oppenheim Arts & Letters become an e-zine.

The old frames-based web site has become, indeed, another WordPress blog, but one anchored on a Blue Host reseller’s account — motivate me, and I will figure out how to get that to work for you!

I seem to have trimmed Communicating Arts–The Journal for more edited work, and, frankly, the theme, “Piano Black” was purchased, for when I launched the blog, I thought it would become a main portal for the business, which it has, leaving this space for a more intimate — less edited, more frank, more personal — conversation.

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It doesn’t work, does it?

Virtual walls and categories, whether of a commercial or personal nature, are either no longer discrete or may not be discretely maintained.

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For authors, ye creative writing types, and artists, ye with pastel-smeared fingertips, there’s everything to be said this minute for the deckle-edged book and the “art gallery” around the house, for with the physical objects, much less the real presence of the real person — and this one really does sing around town, takes “a good picture”, and both owns and reads within a pretty good home library — the feel of the conversation is that between . . . just the two of us, or in public real space, artist and audience.

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Road Snaps, South-Central Pennsylvania, November 18, 2013

This gallery contains 27 photos.

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The Compadres, Benny’s Pub, Hagerstown, Maryland, November 15, 2013

The Compadres, Benny's Pub, Hagerstown, Maryland, November 15, 2

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The really soulful pictures — musician portraits — are living at Communicating Arts–The Journal.

As may be seen by the above, the Nikon D200’s own strobe — a snap shooter if ever was — handles a bit of space quite well.

I was heading out the door when the dancing began (having courted the flu most of the day, I hadn’t expected on going out at all, and once out knew that I would make a short evening of it: a beer, an hour, a camera, and a little bit of presence on the local music scene) and didn’t want to rig up again with a flash unit.

Last week or so, I had some fun using Lightroom tools to bleed a positive background on to the web page; this evening, I played around in the other direction, fade-to-black vignettes with dodged spotlighting.  Such effects plus palette change impression quite a bit.

Two lessons learned about photojournalism along the way, both familiar to those who have given the matter a moment’s thought: 1) photographs lie, often; 2) a picture seldom “tells a thousand words” or “a story”: to the contrary, it often takes a thousand words to tell the viewer, honestly, about what has been recorded.

A photograph is, has been, will be always a recording of a surface reality freighted with intimations.  Entertainers leave definition to the viewer’s imagination; photojournalists needs must provide captions (and refrain from doctoring overmuch).

Many years ago with the advent of the “digital revolution”, I proposed differentiating between a “Type I Photography” aligned with fidelity to the real, i.e., “straight photography” and “Type II Photography” intent on coloring and illustrating after the exposure (there were some rousing discussions too about “Response Photography” — photographer as tourist in an extant reality — and “Constructed Photography”, i.e., photographer as a producer and director importing elements into the frame.

Considering in retrospect the prodigious verbiage that went into that art colony shop talk (zoetrope.com for the curios), I could have been writing short stories and novels.

Sometimes, perhaps especially these days with so many concept-to-post-production options at the desktop, one might do just as well to enjoy the art and not worry it to death with interminable discussions about method.

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The Compadres, Benny's Pub, Hagerstown, Maryland, November 15, 2

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The Compadres, Benny's Pub, Hagerstown, Maryland, November 15, 2

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Posted in Aesthetics, Around Town, Bands, Journal, Music, Nikon D200, Photography, Showbiz, Western Maryland | Tagged , , , , , , | Leave a comment

On the Way to Winter . . . .

On the Way to Winter, Hunter Hill, November 6, 2013.

There once was a man who lived in a ‘hood

And published as many blogs as he could

One day he realized it was all too much too much

And he returned to reading books

And singing with his guitar and such

Posted in Autumn, Creative Writing, Journal, Natural Environment, Nikon D200, Photo-Illustration, Photography, Seasons | Tagged , , , , , | Leave a comment

On the Way to Winter II, Hunter Hill, November 6, 2013

On the Way to Winter, Hunter Hill, November 6, 2013

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Ira Gitlin, Karen Collins & The Backroads Band, Cambridge Schooner Rendezvous, Cambridge, Maryland, October 27, 2013

Ira Gitlin, Karen Collins & The Backroads Band, Cambridge Schoon

Ira Gitlin

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