Seeing 2011 (#68)

For your consideration: a scene which might be either veneration or prostration as its theme, an uncertainty which creates a subtle, unexpected tension in the image.

While the mural exudes a permanent air of confident, serene acceptance, the state of the living figure remains ambiguous sans any facial expression to communicate his condition. Thus we will be forever resigned to settling the question perhaps differently upon each viewing, as our own interior environment filters and lends bias to our personal interpretations.

Peace Seekers, #1515

© 2011 James W. Murray, all rights reserved.

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Details: April 26, 2011; Canon 20D; f/5.6 @ 1/4016 sec; —1/3 EV; ISO 400; 403mm.

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Seeing 2011 (#67)

For your consideration: a scene from within the main hall at San José State University's Music building.

Taken during one of several minute intermissions during a series of brief pieces performed as featured during the twice-weekly Listening Hour; I struggled to time my exposures at opportune moments so as to minimize distracting audience members seated nearby.

This offering appealed to me for two reasons: first, the subtle irony the presence of a multitude of music stands provides when the only apparent instrument to be played is a piano, and secondly because of the composition's flow and symbolism — the black stands against the segmented background mimic undulating notes on a musical score . . . and this falling/rising geometry is itself echoed in the wall's pattern above.

Silent Quintet with Piano, #1532

© 2011 James W. Murray, all rights reserved.

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Details: April 28, 2011; Canon 20D; f/4.5 @ 1/40 sec; ±0 EV; ISO 400; 134mm.

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Seeing 2011 (#66)

For your consideration: an utterly unexpected vision — I was wandering around the grounds of a local landmark (seeking architectural, statuary and leafy subjects) when I rounded the corner of a building and was rewarded with this chimerical arrangement.

Taken by surprise, and not wanting to lose the chance composition, I managed to hastily and surreptitiously take two photographs before retreating from the scene. Only later did I have time to consider the narration here . . . this tableau reminds me of the kind of imagery my Clifton High School English teacher would have us write stories about.

I took the picture — you write the story. (I invite you to leave leave your visionary version as a comment.)

A Chance Encounter , #9528

© 2011 James W. Murray, all rights reserved.

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Details: September 7, 2010; Canon 20D; f/9 @ 1/200 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#65)

For your consideration: a pair of images exemplifying a duality of approaches to the gravity and relevance of Easter in our Modern Society.

The first submission was taken during a late, overcast afternoon of random wanderings through a large local cemetery. Over the years I've been drawn to the solemnity and quiet grace of such grounds (despite the rather grave atmosphere); when in these holy surroundings I strive to exhibit respect for both the permanent residents and the living visitors. In my several such explorations I'd never before spotted an ornamentation as unusual as this one; the pose, in particular, was nearly as disturbing as it was unexpected.

Just as much of a surprise, albeit with a vastly more light-hearted and playful touch, the second photograph was from a delightful excursion taken with my friend Jerry into the countryside about thirty miles distant. We set out well before dawn, meandering as we went along with only vague destinations in mind. Set as it was in a relatively remote stretch of bucolic back roads, this critter was all the more amusing and memorable on a day of many photo-worthy scenes.

* * *

Leaning Christ , #2734

© 2011 James W. Murray, all rights reserved.

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Details: December 4, 2010; Canon 20D; f/4.5 @ 1/160 sec; —2/3 EV; ISO 400; 100mm.

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San Benito Bunny, #6996

© 2011 James W. Murray, all rights reserved.

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Details: March 30, 2010; Canon 20D; f/11 @ 1/100 sec; ±0 EV; ISO 400; 72mm.

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Seeing 2011 (#64)

For your consideration: a domestic vision rendered as an alien atmospheric landscape — a macro photograph of a glass pane from a friend's front door.

Ultimately, for beings of Our Kind all realities are defined and informed by their manifestation in light.

In the vast spectrum available, I've long been utterly fascinated by the perception of blacks: at times indicating an absence of material, yet often instead speaking to cloaked solids. It remains difficult for me to truly comprehend the notion of an inexistence of light ever being properly understood as the presence of substance — something from nothing . . . yet we arrive wired to accommodate this strange reality.

Echoes and Murmurs , #2655

© 2011 James W. Murray, all rights reserved.

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Details: November 28, 2010; Canon 20D; f/8 @ 1/400 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#63)

For your consideration: an intimate portrait of a very close friend.

Mr. Blanchard is a man who epitomizes integrity, honesty, compassion and daily demonstrates a remarkable devotion to family, friends and his spiritual path. I am honored to share this human journey with him.

Mike Blanchard , #3254

© 2011 James W. Murray, all rights reserved.

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Details: Januray 7, 2011; Canon 20D; f/4 @ 1/160 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#62)

For your consideration: a pair of images which present radically different perspectives on scale.

In the first case, a macro photograph of the delicate stems of an exotic flower; this scene is a still-life taken in direct sunlight against a shadowed surface. The extraordinary vibrant colors combined with the extremely shallow focus yields a simple yet potent abstract -- a sense of nature in motion as mimicking a fireworks display.

The second image offers a study of mood and form; the monolith ridges of the concrete edifice are echoed and reinforced by the huddled organic spires stretching towards the sky . . . the late afternoon lighting combined with a mixture of atmospherics in the background creates an odd, muted tension.

* * *

(Incoming) , #1076

© 2011 James W. Murray, all rights reserved.

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Details: April 8, 2011; Canon 20D; f/4 @ 1/250 sec; —1 1/3 EV; ISO 100; 100mm.

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Untitled (SJSU), #1029

© 2011 James W. Murray, all rights reserved.

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Details: April 7, 2011; Canon 20D; f/22 @ 1/320 sec; —1/3 EV; ISO 400; 162mm.

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Seeing 2011 (#61)

For your consideration: a soothing end to another revolution (of planet Earth, on its axis, at least). Featured prominently are the remnants of other objects' journeys: contrails originating from distant points northward.

Taken from a quiet, peaceful vantage point -- and one that by reputation may be considerably and undeservedly under-appreciated. Let's keep it a secret: there are precious few venues left in the crowded local metropolis where one can still find relatively unpopulated escapes in which to simply relax, reflect and experience repose.

Alviso Sunset, #1223

© 2011 James W. Murray, all rights reserved.

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Details: April 15, 2011; Canon 20D; f/20 @ 1/640 sec; +1/3 EV; ISO 400; 360mm.

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Seeing 2011 (#60)

For your consideration: a pointed perspective on the combined effects of image compression and shallow depth-of-field arising from the use of a long telephoto . . . and another riff on Impermanence.

As an Arizona native I have an inherited love and affection for desert flora; I grew up with both a saguaro and a palo verde tree in my backyard. Since 1984 I've been on an unexpectedly long, apparently extended visit to the realm of Northern California's Bay Area, a clime far removed from that of my homeland. Thus, despite having lived here for nearly seventeen years I continue to be surprised whenever I encounter plant life which strikes me as incongruous with the local Pacific atmosphere.

I relish such simple moments, as they not only call me back to my arid roots but also remind me of life's capacity to adapt and flourish even when out of its element. Hence, a lesson that as all things are subject to change, naturally our personal environment (be it on the emotional, physical, or spiritual level) adheres to this often discomforting principle. Yet the cactus illustrates the essence that the willingness to accept change may indeed be a prerequisite for survival . . . pain arises from resistance, while liberation flows from embracing reality as it presents itself.

Alviso Agave Apex, #1187

© 2011 James W. Murray, all rights reserved.

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Details: April 15, 2011; Canon 20D; f/5.6 @ 1/320 sec; ±0 EV; ISO 400; 480mm.

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Seeing 2011 (#59)

For your consideration: hanging on by the thinnest of threads . . . a gossamer scaffold, anchored to an entity of ambiguous origin and descending towards an unknown foothold.

All in all a stoical monolith apparently in the service of a courageous engineer, yielding a scene which depicts the ying/yang interplay of strength and grace, rigidness and flexibility, and the underlying uncertainty and requisite faith inherent in attachment.

A Tenuous Grasp on Solidity, #0973

© 2011 James W. Murray, all rights reserved.

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Details: November 28, 2010; Canon 20D; f/8 @ 1/250 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#58)

For your consideration: a landscape oddly elegant and yet ominously evocative of one my childhood nightmares, courtesy of H. G. Wells and 1953 Hollywood.

This tiny bastion of organic fortitude - a foothold in the midst of a (relative) expanse of condominium concrete - caught my peripheral vision as I descended the stairs into our underground parking garage.

Photographed at eye-level with my 100mm Macro, the shallow focus combined with stark lighting and barren landscape accentuates both the grace and wonderful determination of life to exist and even flourish despite ostensibly impenetrable obstacles.

Alien Oasis, #0973

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/8 @ 1/500 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2010 (#57)

For your consideration: an unlikely organic unfurling commences while bathed in late afternoon light . . . on just the second day of winter.

An optimistic demonstration of life's persistence.

Afternoon Rays, #3131

© 2011 James W. Murray, all rights reserved.

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Details: December 23, 2010; Canon 20D; f/4 @ 1/1252 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2011 (#56)

For your consideration: a modern update on the power of a guiding light to compel one to follow it towards unseen destinations and fates.

Ironically, a hand of tiny pixels seems to hold far greater sway than a parallel sign posting, information likely unnoticed due to the obsession at hand.

The Traveling Talisman, #3878

© 2011 James W. Murray, all rights reserved.

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Details: January 31, 2011; Canon 20D; f/5 @ 1/15 sec; ± 0 EV; ISO 400; 216mm.

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Seeing 2011 (#55)

For your consideration: a macro vision of the elegant complexities and symmetries of nature.

While this image's subject is hardly unique, the particular specimen here surely is as individually distinguished amongst its kind as each of us bipedal observers are likewise utterly differentiated from our kin. Such nuanced evolution, repeated beyond computation and comprehension, is miraculous and a source of personal wonder and amazement.

This tableau's composition reminds me of satellite imagery of hurricanes; this swirling mass is considerably softer, gentler and quieter in its approach and impact on those fortunate enough to pause long enough to encounter it.

White Flower, #0943

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/16 @ 1/500 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#54)

For your consideration: a simple (and for me, relatively rare) still life image, inspired by spotting a similarly trapped orange on our upstairs railing last night . . .

This was taken in the glorious natural lighting which spills into the hall outside of my office door about mid-morning these days.

Aside from a straightforward study in texture and spacial form, I am often increasingly intrigued by the impermanence of all things -- and the potentiality inherent and implied by this evolutionary context.

Orange (Juice) Glass, #1056

© 2011 James W. Murray, all rights reserved.

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Details: April 8, 2011; Canon 20D; f/11 @ 1/80 sec; —1 EV; ISO 100; 100mm.

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Seeing 2011 (#53)

For your consideration: a parting of the curtain, of sorts, revealing the specter of a floating edifice.

Tis doubtful to be a parting of the veil, allowing a concrete glimpse of John 14:2 manifested: seems a bit too crowded and disturbingly lacking a solid foundation.

In any event, this caught the attention of my camera lens the morning after a heavy storm's departure; taken on top of the SJSU campus parking structure on Fourth Street at San Carlos.

Fata Morgana (Heaven's Gate), #4857

© 2011 James W. Murray, all rights reserved.

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Details: February 16, 2011; Canon 20D; f/16 @ 1/400 sec; ±0 EV; ISO 200; 205mm.

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Seeing 2011 (#52)

For your consideration: an unexpected, spontaneously discovered tableau resplendent with texture, structure, and subtle surprises . . .

This scene exemplifies what I consider to be extemporaneous vision: spotted as I was trailing my family to our car at the end of a morning spent in the Campbell Farmer's Market scene, the backside of this building presented itself in high relief due to my sheer good fortune of passing by when the Sun was nearly directly overhead -- its acutely angled rays drawing out maximum effect for nuanced surfaces and shadows.

The moment par excellence is completed by a confluence of compositional serendipity of subjects within the frame.

Starch Landscape, #0969

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/9 @ 1/250 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2011 (#51)

For your consideration: a casual, candid portrait of my father, as he sat in my condominium's living room enjoying a Sunday morning chat with my wife and mom.

With relatively little advanced notice, my parents lovingly made the four-hour journey from their wine-country home to my wife's and my abode the day before, to support, honor and celebrate a significant personal anniversary of mine. It was a very moving weekend, healing, loving and joyful, and a good time filled with laughter, abundant food and soulful nourishment was shared all around.

James Houston Murray, Jr., April 3, 2011, #0918

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/2.8 @ 1/40 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#50)

For your consideration: scenes from an alien future.

Having grown up in the high desert of southern Arizona, I've soaked in countless hours of plumbing the unfathomably deep, glitter-filled night skies rotating across the black ocean overhead. Long before the Official Results were in -- that indeed a bounty of exoplanets gracefully trace arcs around myriads of suns strewn across existence -- my friends and I felt it an inescapable fact that truly advanced, intelligent life teems Out There, Somewhere.

The consequence of such a conclusion is akin to the nature of earthquakes: the question of a significant encounter is not if but rather when. Parallel to that: would you want to be around for the introduction? Friend, or foe? It's best not to assume that any extraterrestrial species more technologically adept than ours would necessarily be benign -- ask the native Americans how that worked out for them in the face of European immigration . . .

Orson Wells quite effectively shook things up in this regard, long ago. Lucky for us that was only a dress rehearsal. Who knows what the real interactions will be like?

Beyond the simple probably of Others, the major question is "well, how did they get here?" The galactic distances are vastly beyond any current technology we can practically dream up . . . which brings up the option of wormholes. A convenient shortcut to the problem. Or not.

Thus this presentation: allusions of potentialities, perhaps best not realized.

The Visitation, #8497

© 2011 James W. Murray, all rights reserved.

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Details: June 5, 2011; Canon 20D; f/3.5 @ 1/640 sec; —2/3 EV; ISO 200; 100mm.

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Wormhole Dream (Crystalline Orifice), #8470

© 2011 James W. Murray, all rights reserved.

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Details: June 5, 2010; Canon 20D; f/8 @ 1/125 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#49)

For your consideration: a delightful friend with an equally pleasing sense of humor . . .

A rare photograph of him garbed in a brimmed hat, captured out in the wild -- during a hike amidst the foothills above Los Gatos.

Kevin Groth, #4012

© 2011 James W. Murray, all rights reserved.

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Details: February 5, 2011; Canon 20D; f/4.5 @ 1/50 sec; ±0 EV; ISO 400; 128mm.

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