Tuesday, August 31, 2010

Seeing 2010 (#123)

For your consideration: a simple study of repetitious geometry, subtle texture, and a bit of chaos theory as connective tissue.

Tying it all together -- and of course the key motivation for this particular construction -- is the humble, inconspicuous air of the casually framed public service announcement . . . droll and ironic, and perhaps a bit tardy.



Building 226 , #0596

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 22, 2010; Canon 20D; f/11 @ 1/500 sec; —1/3 EV; ISO 100; 100mm.

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Monday, August 30, 2010

Seeing 2010 (#122)

For your consideration: a micro-climate of sorts, tenuously existing . . .

The fleeting nature of serenity, a small and delicate beauty representing the miraculous diversity of life which flourishes all around us -- a plethora of sublime tapestries briefly on display, delights usually missed, lost beneath the chaos and preoccupation of with keeping pace with Modern Life.

Discovered, with awe, pleasure, and respect (such nimbleness! amazing balancing act!) during an early Sunday morning camera stroll on campus.


Crane Fly , #0817

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 29, 2010; Canon 20D; f/6.3 @ 1/640 sec; —2/3 EV; ISO 400; 100mm.

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Friday, August 27, 2010

Seeing 2010 (#121)

For your consideration: a contemplation of a wooden abstraction.

Extracted from the planks underfoot at my preferred meditation spot, it reminds me of the wrinkles orbiting the eye of an elephant, or perhaps of a whale.



Untitled , #0757

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 26, 2010; Canon 20D; f/3.5 @ 1/500 sec; —2/3 EV; ISO 400; 100mm.

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Tuesday, August 24, 2010

Seeing 2010 (#120)

For your consideration: an appendage appearance of the prickly sort.

I hail from the Sonoran Desert but have been engaged an extended visit to Northern California for twenty-six years (and counting). Thus I'm gradually growing accustomed to redwood trees, ice plant, rolling hills carpeted in naturally abundant grass and those grand oaks. Every so often, though, I'm delighted by an encounter with an entity rather more native to my original home, usually featuring needles in lieu of leaves.

This entry features such a recent pleasure, amplified by the nature of what might be considered the birth of new offspring. Fascinating to me is the ironic contradiction that most newborns are soft, cuddly and often feature a downy soft skin begging caresses . . . not likely the case here!

When contemplating the miraculous diversity of lifeforms on our tiny blue marble floating in the unimaginably vast (and largely empty) void of our universe, I am acutely aware of the profound and incomprehensible fact of existence in all its renditions.

Pausing to reflect on the reality of coexisting with dolphins, hummingbirds, tigers, giraffes, mosquitoes, E. coli, turtles, Palo Verde trees, roses, spiders, kelp and, yes, saguaro, prickly pear cacti and ocotillo -- and all the rest of Earth's horde -- brings a quiet amazement into the frenzied jaunts to-and-fro most of us scramble through in our quest for "happiness" in Modern Society.

Stop. Look around. Soak it in, and be astonished.



Emerging Cacti , #0520

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 16, 2010; Canon 20D; f/10 @ 1/320 sec; —2/3 EV; ISO 400; 100mm.

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Sunday, August 22, 2010

Seeing 2010 (#119)

For your consideration: an entry from the Glass series.

A multitude of possibilities:

. . . an interlaced depiction of an Event Horizon; light/energy being drawn into a compact orb even while simultaneously being ejected in precise reverse trajectory (a cubist version of the Event horizon); an in utero view of an embryonic, enlightened entity; a tentacle probing an alien atmosphere . . .

I find it enthralling, odd and mysterious that basic truths, fundamental knowledge (innate or learned) and revelations of things known to oneself at one stage of life can present themselves anew with the passage of time, to potent effect.

Thus: I've been smitten, enthralled and spiritually fed by the entirety of the photographic process since my youth, and was deeply influenced early on by exposure to the work of Adams, Callahan, Evans, Ray, Siskind and Weston . . .

Yet, in a newly (re)acquired, emphatically visceral awareness, I've been awakened to this: la vie est tout de la lumière.

It's all about the light.



Enlightenment (of Being)/Singularity , #0397

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 13, 2010; Canon 20D; f/10 @ 1/400 sec; —2/3 EV; ISO 400; 100mm.

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Saturday, August 21, 2010

Seeing 2010 (#118)

For your consideration: a pair of portraits of very dear and close friends, in tableaux of radically different moods.

Bryan is a relative newcomer to my circle, and a tremendously joyful addition to our cadre.

An enthusiastic, good-humored and open-minded fellow, he has demonstrated fortitude, remarkable perseverance and unusual willingness as a refreshingly "early adopter" of meditation as a serious spiritual practice. Over the course of a few short months he became my de facto sangha partner; not only did he join me nearly daily for 30-minute meditations ("sits") at a local park, but he was also a frequent visitor to the Zen Meditation Good Works sangha (which meets every Tuesday at noon at the Dr. Martin Luther King, Jr., library), making a special one-hour-plus trip via mass transit and bicycle simply to join in a silent reflection.

Bryan and I developed a rich and deep connection during the course of our journeys to the park, as well as at other spiritual gatherings. I, and others, shall miss him: shortly after he agreed to "sit" for this portrait he completed emptying his storage unit and returned to his homeland of Louisiana. We shall meet again on the journey . . .

Kevin Ahern is the subject of the second image (taken last year in the MLK library) , depicted in a rare foray by me into significant image manipulation.

I chose to alter the original photograph in response to Kevin's recent brush with his mortality: he is a lucky survivor of a heart attack. One of my closest friends and confidants, this scare was utterly unexpected for all concerned, and it serves as an acute reminder of the miracle of our consciousness and the tenuousness, unpredictability and impermanence of our existence. As I have passed 50 years of time spent on the mortal coil the awareness of my own inevitable date with the Great Mystery Beyond has become an increasingly present companion, heightened more than a little by Kevin's escape.

Thus the presentation below, a rendering of Mr Ahern in a duality of contexts and perspectives.

First, an overall sense of ethereal surrealism, representing what may well be our experience as we transition to What's Next. Secondly, I chose specific filtering effects to produce layers and contours: layers to amplify sense of the many hidden levels of our consciousness, unconsciousness, and the unfathomable true nature of our physical Self at the quantum level; contours as a sly nod to a secret love Kevin and I share -- an affinity for geography and USGS maps . . .

Finally, the final result seems to exude a potent sense of discomfort and tension, a mood remarkably and utterly at odds with the actual emotional landscape at the time he posed for my camera . . . a case in point that the potential for a sudden and abrupt change in our essential existence and being is always present.

* * *



Bryan, August 1, 2010, #0336

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 1, 2010; Canon 20D; f/5.6 @ 1/60 sec; —2/3 EV; ISO 400; 51mm.

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Topographical Man, #5476

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 30, 2009; Canon 20D; f/11 @ 1/30 sec; —2/3 EV; ISO 400; 55mm.

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Thursday, August 19, 2010

Seeing 2010 (#117)

For your consideration: imagery inorganic and natural, symbolic and demonstrative of the beauty and mystery of life.

The first offering is a scene at once familiar and surreal -- a pair of forms evoking the cellular core of living things in the act of of division, suspended and encased within an egg-like cocoon (itself seemingly filled with perhaps ancient amber) . . . Yet the horizon hints at an atmospheric, expansive spatial scale . . . perhaps a view of alien forms, even planets, reproducing.

The second photograph is a simple presentation of the elegance inherent in nature's evolutionary creation. To the casual (or cynical) observer these may simply be flowers -- yet the nuanced soul recognizes that each is utterly unique unto itself, and abundantly, humbly capable of inspiring awe and respect of the potent beauty on hand. The most advanced scientific inventions (the efforts of which I am an ardent admirer) remain vanishingly short of such complex and delicate results as these.

* * *



Ovum Mitoses, #9215

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 3, 2010; Canon 20D; f/4 @ 1/200 sec; —2/3 EV; ISO 200; 100mm.

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Simpatico, #7285

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 14, 2010; Canon 20D; f/16 @ 1/250 sec; —2/3 EV; ISO 400; 100mm.

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Wednesday, August 18, 2010

Seeing 2010 (#116)

For your consideration: a return to a favorite theme, that being nature's artistry -- especially constructions arising from dramatic interplay of light, shadow texture. Late afternoon.




Leaf Array, #0501

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 16, 2010; Canon 20D; f/11 @ 1/200 sec; - 1/3 EV; ISO 200; 100mm.

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Tuesday, August 17, 2010

Seeing 2010 (#115)

For your consideration: an abstract contemplation on primal facets of the human condition . . .

Undulating movements through unknown terrain alternately bathed in light and darkness; little seems quite as it appears . . . some textures subtle, others coarse . . . a pair of intertwined shapes, incomplete yet familiar, at once oozing and frozen in place -- one heart broken or two melding and growing apace?

"It is love, not reason, that is stronger than death." - Thomas Mann



Untitled, #0424

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 14, 2010; Canon 20D; f/11 @ 1/1000 sec; - 2/3 EV; ISO 400; 100mm.

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Thursday, August 12, 2010

Seeing 2010 (#114)

For your consideration: contemplations on perseverance, impermanence, and acceptance -- and the subtle potency of body language.

In one moment a man stoically studies a record of the day's events, a firm grip on his temporary sustenance . . . The scene seems peaceful enough, yet the set jaw, coiled posture and (most telling of all) clenched fist belie any aura of tranquility: tension emanates from head to hand. Here sits an image of many days gone past, a representative of a bygone age, subtly juxtaposed against a background symbol of modernity.

The second composition is a simple tableau illuminating an entirely different degree of composure in the face of inevitable unknowns to come. Rather than anxiety the subject appears to be comfortably ensconced on a sofa, hands lightly clasped, head titled as if gazing more with curiosity if not actual welcome anticipation of a revelation near at hand.

* * *

The Diner, #0257

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 28, 2010; Canon 20D; f/5 @ 1/200 sec; - 2/3 EV; ISO 400; 35mm.

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Waiting, #7792

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 9, 2010; Canon 20D; f/2.8 @ 1/50 sec; - 2/3 EV; ISO 400; 100mm.

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Friday, August 6, 2010

Seeing 2010 (#113)

For your consideration: a tranquil scene . . .

An outpost beside an empty roadway in rural San Benito County, signs of some ballistic deliveries. "Neither snow, rain, heat, nor gloom of night . . ." No word on the impact of a hail storm, however.



Postal, #7112

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 30, 2010; Canon 20D; f/11 @ 1/250 sec; - 2/3 EV; ISO 100; 75mm.

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Thursday, August 5, 2010

Seeing 2010 (#112)

(Apologies to those to received a mal-formed premature version of this entry.)

For your consideration: an entry from the embryonic Droppings series, soon to be unveiled here.

Amongst the travelers in my circles is the oft-heard notion of peeling back the onion. For the courageous, slumbering in the depths to be mined from the mind are mysteries and wonders . . . many revelations await, some acutely coherent and liberating, others surreal and opaque. I've long been particularly fascinated by Dali's Persistence of Memory as an expression of the ephemeral, ethereal landscapes of the unconscious.

The image here offers similar themes of unexpected juxtapositions, indecipherable landscapes and an unlikely sense of movement and moment in a sharply restricted operating space.



Untitled (Oxidizing Mental Corridors), #0257

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: July28, 2010; Canon 20D; f/11 @ 1/200 sec; - 2/3 EV; ISO 400; 100mm.

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Wednesday, August 4, 2010

Seeing 2010 (#111)

For your consideration: a simple geometric presentation featuring symmetries authored by man and nature, seemingly in concert with one another . . . or perhaps an affair of "call and response"?

Either way a tension between the notions of security and fragility, duration and impermanence, underlie it all . . . as it always must be whether the scale be macro or micro.




Hinge, #9542

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 10, 2010; Canon 20D; f/8 @ 1/800 sec; - 1/3 EV; ISO 100; 100mm.

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Tuesday, August 3, 2010

Seeing 2010 (#110)

For your consideration: a Martian forgery, of sorts . . .

I lived for a time in a distant land and era; the dominant feature and raison d'être for the entire scree of communities was the local copper mine with its massive open pit and smelting operations. Situated in the far remote reaches of eastern Arizona, there was dearth of compelling entertainment on the whole. Still, a unique source of awe could be witnessed: the dumping of slag onto the mine tailings, especially when viewed after dark. Gigantic buckets of molten liquid, evocative of volcanic lava, cut bright golden-orange sluices of fire coursing down the utterly toxic, steep slopes of the excavations, briefly lighting up the night sky.

I never managed to photograph one of those searing events, but the image below resurrects long dormant and fond memories of a more innocent period of my life.



Rust Fall, #0249

© 2010 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 28, 2010; Canon 20D; f/16 @ 1/125 sec; - 2/3 EV; ISO 400; 100mm.

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