The most current project:
The “Abandoned at Yonkers” features my created memories that have been purposefully crafted later be used to trigger my own personal memories or truths, and to trigger personal memories and experiences in the viewer, beyond the viewer’s initial subjective interpretation of the image’s content.
These images were taken on actual model based explorations at an abandoned greenhouse in Yonkers, New York. While these images are based entirely in reality – images taken on numerous sunrise excursions – they are not to be considered objective truth of what happened.
My taking the shot (at my chosen decisive moment), the decisions made in post processing, and the inherent inaccuracy of the digital photograph (starting with being two dimensional representations, continue to limitations in the lenses, conversion to the binary/electrical process, monocular vision versus human binary vision, amongst other things) serve as limits that remove any likelihood of capturing an objective truth.
Such limitations are not exclusive to these images – but also apply to both memories and dreams. Inherent to our processing of captured information is subjectivity. We make comparisons based upon our own experiences or sensations. It is biology that brings us together, and allows the process to be manipulated allowing the images to stimulate some of these universal physiological processes.
Memories themselves are the electro-chemical renderings of visual images captured by the eyes, combined with stimulation from our other sensory organs, processed into permanency by the brain during our sleep cycle. There is a similarity in this rendering process to my photographic process. Light bouncing off our subject travels through the glass lens striking a sensor creating an electronic rendering of the original visual image, turned into series of binary code to be processed by a computer before becoming permanent during the printing cycle.
Our brain renders the various sensory stimulations into permanency – providing context and connections to other “memories.” This rendering is congruent to my personal postproduction work. I try to add context and connections to other concepts by making adjustments to colors and tones and through textural additions as well.
While it is not clear how memories are stored, it is known that there are millions of connections that have been made, and will continue to be added upon, with all of our existing processed stimulations. Therefore, it is possible for one stimulation to trigger other memories – just as when we identify a smell or hear a song – it can instantly transport us to a memory of a different experience.
Therefore, these images have been purposefully crafted with the dual purpose of creating memories from my own experiences with Emily at the Greenhouse, and create images that super stimulate the viewer’s sensory cells so that other personal memories are triggered thereby allowing the viewer to relate to the image on a much more personal level.
In honor of Leica’s importance to the history of photography – these images were taken using both a film Leica M7 camera (with 1600iso Fuji film) and the new Leica M9 (full frame digital camera) equipped with both versions of the Noctilux Lens (50mm f/1 and f/.95). This lens has the ability to capture images in less light necessary to capture the same image with the human eye. Inherent to this lens property is a soft dreamlike quality applied to the out of focus areas.
To super stimulate the sensory cells in order to have the stimulation latch onto previously rendered stimulation and memories – the images were taken with the following scientific truths applied: colors that are the true frequency of yellow stimulate two of the three applicable sensory cells in the eye at an amount that is greater than most other color frequencies stimulate only one cell.
Additionally, inherent to humanity is our ability to recognize faces. Scientific research suggests that this characteristic is part of us from birth, and that even babies reacted to face-like shapes as opposed to shapes that did not resemble faces, as early as a few days old. Dark eyes surrounded by lighter cheeks and forehead are the biggest indicators and therefore images with these features were preferred in this portfolio.
Lastly, the eye appreciates and is drawn to contrasts. Significant contrasts send electrical stimulation that is much more powerful than the regular chemical stimulation sent normally. Therefore, these images were mostly taken at Sunrise in order to maximize the contrast over the broadest dynamic range.
These images convey memories from our adventure and hopefully stimulate thoughts and experiences from your own adventures.
From my Masters Thesis (In Progress)…
