I have just stumbled onto that picture taken on a sunny day. It looks like even the sun can't have sometimes that power to lift up the spirit but leaves you in a dream that went to sleep a long time ago.
Really, it was just about the light(beautiful), it also looked attractive on the wooden floor and I needed a photo. The sandal was sitting there. It served me right. Only for the light. Only the light.
Remnants of Street photography which won't be my focus no more. Attention will still be there. Can't obliterate a look, a reflex that became natural.
When I felt I wasn't connected to the world or society around me I would establish connection by searching outside in the streets what I felt inside. Through the photographs I would document my moods, my aspirations, I would express my sense of beauty. I would sublimate.Thus, I was documenting myself. The photos I retained from that period, they talk about me, but scenes are performed by others, persons, objects, locations, scenic shots.It would create and a link and a system, and a portal. My theater.
Geographic location--> residential with nobody almost in sight. People found in supermarkets mostly. I don't document shopping habits. Maybe I should. What's left is the decorum of the residential suburbia. Creepy just like that ghostly tissue hanging from that tree. That's what I'm looking at. That's probably a source of explanation of what I do now. Without being thrilled but somehow relieved,I see that abstract in photography seems to be a "norm ",i.e became a formal trend of contemporary photography. I see abstract studies in any genre of photography. Motivations might be different from one photographer to another.
I am reading articles about Photography and Abstraction. I slowly digest the info and reasoning and actual conclusions. It also triggers thoughts about my new direction, new photography I'm trying to own, to understand where it comes from. Don't you think it is important? Are we not already saturated with images imposed to us that we should know why we're creating our own..jpg)
A stand alone which could be worked as a series. The subject doesn't motivate me though. Stand alone it is. Some sensations are unique in their happening, left is the sought after expectations of feeling that thing again. So maybe I'll find another one someday. It's maybe that thing that gets people goin'round towns, cities chasing windows. I look up high sometimes just because nothing's happening street level, but it's rare. Only for beautiful clouds and a pure blue sky.
This is more like the evolution process of viewing and experimenting a subject before opportunity and circumstances vanished. (I was at a traffic light about going to go green anytime). Or it maybe how a series can bring itself about(See 2 previous posts). This might also be an element of a work in progress which consciousness is just starting to reveal. Or I am slowly , as I speak, realizing that I have been producing and adding different visual pieces to the same body, the same puzzle.
I feel that a gallery is bound to represent you, to take you on board if somehow they feel that your work can hold a distance, a space. If your work got some strength and stamina, and that magnetic quality, entice buyers. Series preferred. A specialization. A theme. I guess it helps building a multi-faceted relationship. A face for the gallery/artist bind, another for gallery/art-buyers bind through artists and the artist and his work/theme/subject. Could the latter lead one artist to be pidgeonholed or pidgeonhole himself to some kind of work? For assurance?
I think some of us work like painters. They in time come up with a signature-style. And also work series. It serves, I think, two purposes: it gives strength and depth to a work in progress, a Body; and it affirms a style, a signature.The latter is important(I'm not convinced but...) and sought after by many.Let's also note that sometimes it comes out as a complete fraud( no real object or perhaps that we can make beautiful out of everything.What's new. Try to have good taste). But as painters can apply their signature to different subjects. Can it be done in photography? Could it be recognizable if applied to different subjects?
Was I the only one to see that woman? Could that shot advocate for invisible undies 2? Man ,these aftershot details!
Do you think it is really important, mandatory for a photographer to work series like we often see? I do understand that series are sometime needed to shape a view and guide viewers. I think what I want to know is whether it is mandatory in order to have your work considered successfully by gallery owners or collectors who want to know what your project is about. Couldn't it be only so subjective and sensation-driven that the project would be simply to gather good images? Because one can understand that depending on the nature and subject of your photography, series occurs or not. And building a body of work with a theme varies in time for photographers. 
In my memory, that image is among the first ones I did when I got back shooting b+w in the u.states. That info is important to me now because, first I haven't shot that much b+w and also when I did it was never in good conditions. Can't do real good b+w shooting while driving around. Hence poor production or "deja vu" which is poor production 2.
Framed. Too busy taking, not enough time to reflect on what I'm actually doing. Pictures piling up. Stacks made from one father but with no connections, just a collection. Framed. It felt like producing, but now I face the fact that it was consuming. I really didn't get lasting satisfaction so I would go at it again, and again. Aimlessly driven. Following. I still do just as now, blogging. But I know now what I'm doing.
It's only after dealing with the colors and seeing past the colors that I laid eyes on her face and gazed at her expression. The tension in her eyes, moving forward.There might be more to tell but that's all for now.
Is it pertinent to state that knowing the kind of film you're using leads you to photograph certain subjects seen under certain conditions a certain way?
It was definitely about colors...and lines shaping rectangles. As for the composition, it was my choice(hose line) plus the sheer magic of a 135mm telephoto(a preferred framer) combined with the sheer luck of being a front liner at the traffic stoplight and it being red of course.
Sometimes reality joins fiction and vice versa. And sometimes you're just lucky enough to be in the right place at the right time, and grateful that you brought your camera in your car.
I had a glimpse of a sunset happening while obviously turning my back on it and missing a chance to see it.But it was still glaring in my direction so I took a piece.
A quick draw. As for the title...sometime you wish you could know about things to happen.
The conditions under which I shot photos these past years and quite a bit of a state of mind I was in until a year ago got me to develop what I see as "Emergency Photography".A real need to maintain photography alive, you can lose touch so quickly.
Not having the time I want to photograph sometime, I develop the habit to shoot while driving places I need to go. It has limitations only if you think it has. Developing a theme doesn't come first but being motivated to squeeze the most out of a short stop is the thing in itself. 
I didn't find time to even look at what I photographed today while running some errands.I shoot while driving.It's a strange way to photograph. The reason is the lack of time so I'm trying to shoot whenever I can and when I do get out I'm always driving.I'm trying and have been trying to maintain street photography to an active level, genre that I love so much but can't get much of. 
I don't know why I've waited so long to do this. But I'm on and you're on too.
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