For a second year in a row, my photos have been selected to represent the months of the year in Dave Hayes the Weather Nut’s 2018 Wall Calendar. Order yours today!
My newest painting portrays Mt. Tom, as seen from the Fort Hill section of Easthampton, Massachusetts. Early summer corn grows in the foreground.
A friend of mine was looking for some art to hang on the wall of his new office, so I obliged. I produced this 44 by 55 inch acrylic-on-canvas painting in one month. I also built a custom frame from select pine, and painted it a deep “espresso” color.
In years past, I might have taken several months to complete a work of this size. This time, I was thankful for the tight deadline, and the opportunity to try a new approach to getting work done more efficiently.
This is one from a series of about 50 “Gocco” silkscreen prints I made in the late 1990s (and one of the few that remain in my collection).
The original was a film photo taken by my dear old friend Ben Ostiguy (swimmer4buzzardsbay on Instagram). It’s a picture of yours truly on my bicycle, crossing the bridge over the Connecticut River between Hadley and Northampton, Massachusetts, circa 1991 when much of the Norwottuck Rail Trail had yet to be paved. Ben and I were out gathering photographic imagery for a painting class we were both taking at UMass, and we scouted out the nascent trail off-road style.
I first used the image to illustrate a haiku poem in a chapbook titled “Little Deaths” that I’d written, bound, and self-published in 1995:
When in a painting
you see a beckoning road,
then down it you go!
A few years later I happened to salvage a trove of genuine WWII-era aeronautical maps of Europe that the folks at the W. E. B. Du Bois Library at UMass had been planning to throw out. I used the maps as substrates for a handful of collages and paintings. But none of those projects were as successful as this print run, which supplied me with greeting cards for years.
I suppose I ought to scan the last two or three I have left, and make some giclée prints. There’s nothing quite like an original, though. The way the ink layers interact with each other and with the paper is hard to reproduce via modern printing processes.
Vimeo—one of the services where I host my videos—offers a recurring workshop they call the Weekend Challenge. The 2016 Memory Bank episode challenges filmmakers to create a short film (under 3 minutes) out of their orphaned video clips from the year.
Until I learned about this assignment, I hadn’t given much thought to how many videos I’d recorded incidentally over the course of the year, nor whether they would fit together into a coherent narrative. I was surprised to discover that yes, they did. I hadn’t done very much work in this “video montage” style, so it was a new and interesting challenge.
I’d also never begun a movie project with the music. Previously, I had only added music to films after making the video part, like adding spices or a garnish to a meal. But using that approach has often resulted in movies where the music seemed like a poor fit or an afterthought.
This time around, I approached the project as a music video. (I was a big fan of MTV back in the early 1980s.) I started by writing and recording the music using Apple’s GarageBand software, overdubbing piano, synthesizer, and drum loops.
Then I imported the song into the Final Cut Pro video editing software, and added video clips to the song’s rhythmic timeline (versus the other way around). I liked this approach—it shifted my way of thinking and got me out of a couple of ruts I had slipped into.
I’m not exactly sure of the overarching theme among the clips. In 2016 I traveled more than usual. I had surgery. I got sick a couple of times. I had a good year at work and some pretty great times with family and friends. I got outdoors and did some hiking and bicycling. I played hockey. I grew some amazing garlic. I made sprouts. I learned to roast my own coffee. I took a bunch of photos and movies. I made four paintings. I published. I tried to improve. I learned some new technological skills. All the while a relentless and dissonant political battle raged in the background. My team lost, twice.
Perhaps the theme is one of continuing to be kind, creative, resilient, graceful, and happy despite the challenging nature of the times. Or maybe the lesson is simply to focus on the good stuff in life, because there really is so much of it to be enjoyed and shared. Hopefully this short film captures some of the happy highlights.
A few years ago I set about to make a series of hand-painted canvas tote bags. I ordered a couple dozen plain canvas bags online. I drew up a simple, happy, graphic image that seemed like it would be easy to reproduce. I cut out a paper stencil so that I could transfer the drawing consistently from bag to bag. I cleared all the flat surfaces in my studio. Then I got busy making the acrylic paintings.
My original intention had been to put these on Etsy, sell a bunch of them, and fund my next art project. But they languished in my Etsy shop, and I never sold a single one. I ended up giving most of the bags away to friends and family members, and of course I’ve kept a couple for my own use. I may have one or two left; if you want one, please get in touch.
The photo gallery below shows the process I devised to make the paintings. Instead of painting each bag’s image from start to finish, I used the mass-production approach: I performed each step on all of the bags before proceeding to the next step. So for example, first I painted a rectangle of white primer (gesso) onto each of the bags and let it dry. Then I stenciled my sketch onto each of the bags. Then I painted the blue sky onto each of the bags. And so on. The later detail steps were a bit more improvisational, so there are minor differences among the paintings that hopefully add some character.
Update November 13, 2016: I took down the show. I have updated the tenses in this post to reflect the new reality.
I exhibited some of my photographs at Mt. Tom’s Homemade Ice Cream in Easthampton, Massachusetts, October 8th through November 11th, 2016. There was an opening reception on Saturday, October 8th (as part of Easthampton’s monthly Art Walk). I loved seeing you there!
I like to take photos involving outdoor scenes, trees, water, earth, and sculpted clouds. These days I share a lot of my work online, but it has been a while since I’ve shown the physical artifacts of the process. When my friend and fellow artist Jim Ingram asked me if I’d like to show my work at his ice cream shop, I said yes.
Originally I was going to show paintings. I’ve made a few of those over the past couple of years, but not enough to fill a whole show. Later, I thought that I might show a mix of a few paintings and a few prints. But after reviewing my whole available body of work, I decided to narrow the focus to one medium, and stick to photos. I’m glad I did, because in this case it made for a more cohesive show. The prints for this show were all either 12 by 12-inch squares, or 11 by 14-inch rectangles.
Please enjoy the gallery above, which offers a glimpse of the photos that were in the show. Please get in touch if you’d like to buy one. Soon I will be listing them in my Etsy shop.
Recently we made a quick overnight trip to Providence, Rhode Island, to help Rebecca’s daughter settle into her dorm at college. The view from our hotel (Omni Providence) was pretty nice, so I got to try something I’ve been wanting to do: make a time-lapse movie of day turning into night in an urban environment.
I suppose I could have used my iPhone’s time-lapse mode and called it a day (into night—ha), but the quality of the iPhone’s photos suffers in low-light conditions. So I got my “good camera” ready, and embarked upon a little project.
Check out the short video above to see the result of my experiment.
Some notes on the equipment I used and how I set things up:
- Camera: Olympus OM-D E-M5 Mark II micro four-thirds format (great camera, awful name—I propose Zephyr)
- Lens: Panasonic Lumix/Leica 25mm f/1.4 (equivalent to a 50mm focal length in “full-frame” camera terms)
- Tripod: GorillaPod Original
- Fortunately, the window of our 12th floor room was able to be opened about four inches, so I didn’t have to shoot through dirty windows or contend with room reflections in the glass.
- I spent a good 15 minutes obsessing about whether to use a wider-angle lens, to capture a bigger view of the city. We could see Waterplace Park and a portion of the river from our room, and had it been a WaterFire night, that might have influenced my decision toward the “more-is-more” direction. But Rebecca, bless her, helped confirm my hunch that what this particular scene needed was a tighter crop of a specific subject: the domed Rhode Island State House at the other end of the street.
- I settled on the 25 mm lens, set the camera on the tripod, aimed it through the open window, and composed the shot through the viewfinder.
- I used the brightest f-stop available (f/1.4) and set the camera to aperture priority mode, so that the shutter speed would vary and the “after dark” shots would be adequately exposed.
- I manually focused on the State House so that the camera wouldn’t waste any battery energy automatically refocusing for every shot. Also, auto-focus doesn’t always focus on the right thing—especially when the scene is dark—so I figured I’d take control of that aspect.
- I set the camera to take medium-resolution shots. Again, I was concerned about battery life, and shooting RAW or high-resolution JPGs would have drained the camera’s battery too quickly.
- Sunset was going to be at 7:17 p.m. I figured that if I started around 6:00 and ended around 8:00, I would capture the transition from light to dark nicely.
- As far as the frequency of the shots, I started obsessing with the math, calculating how many shots I’d end up with if I set the camera to take a photo every 5, 10, or 15 seconds, and what the frame rate of the final video would need to be, to create smooth animation. I ultimately decided on one shot every 15 seconds, figuring that I could sort out the timing considerations later, in software. The camera has a programmable time-lapse mode, so I set it up, crossed my fingers, and pressed the shutter button.
- We left to get some dinner, praying we would not come back to find that a flight of pigeons had taken up residence in our room. (They hadn’t.)
- I’m glad I chose the 15-second interval, because as it happened, the battery died and the camera stopped taking pictures before I manually intervened. Fortunately, just enough shots (514) were captured.
- Back at home on the computer, I imported the photos and used Apple’s QuickTime Pro 7 software to convert the image sequence into a movie. I tried one at 60 frames per second (FPS), one at 30 FPS, and one at 24 FPS, to see which one worked best. Ultimately I kept the 24 FPS one.
- I brought that file into Final Cut Pro X software, cropped the composition to the 16:9 proportion of HD video, and rotated it a half of a degree to correct a slight listing feeling. Also, I shortened the movie somewhat at the beginning, as it felt like it was dwelling too heavily on the “day” side of the transition.
- I exported the movie to Vimeo, and embedded it into this page.
- The biggest lesson for me was the consideration of battery life. Olympus sells an add-on battery pack for my camera that combines two batteries, but it adds bulk and weight, and part of the reason I chose this camera in the first place was its compact form. If I plan to do longer time-lapse projects in the future, I might consider investing in it. But then again, I might simply switch to a 20- or 30-second interval, and make sure I start with a freshly-charged battery every time.
I love this short film Cranberry Wake by Alex Horner. It is such a perfect marriage of storytelling, history, sport, music, and abstraction, told with an exquisite attention to detail. Every frame of this film is a perfectly-composed painting.
The film starts out seeming to be a mini documentary on how cranberries are grown and harvested. But then the wakeskaters show up, and the film takes on a whole new dimension. “What’s a wakeskater?” you might ask. Watch the film and find out!
I’m particularly moved by how well the music harmonizes with the visuals. Steve Horner’s Light on Blue and Tycho’s Daydream are perfectly ethereal selections that complement the dreamy, slowed-down action shots. I would love to learn how to obtain rights to use another artist’s music in my own short films. Until then, I’ll continue to make my own music for films.
I’ve been enjoying taking photos at night and at the blue hour, using my Olympus camera, a tripod, and a long exposure. The time of day (9:10 p.m.) was the crucial element in this shot, because at this time of year, at my latitude, there’s still enough ambient light to take a four-second exposure that reveals some details in the landscape.
Moreover, with the sun already sunk below the horizon, the sky’s light is predominantly blue in hue, which makes a nice cool counterpoint for the warmer LED light that spills out from my barn through windows and cracks between the boards, illuminating swaths of grass and garden.
My backyard is asparkle with them.
This was a fun shot to make. The photo makes it appear as if all of the fireflies are lit at the same time. In actuality, I set up a long, tripod-mounted exposure, and individual fireflies may have been represented multiple times.
In order to illuminate the peach trees and the rhubarb patch in the foreground, I walked around the perimeter of the scene with a flashlight while the camera’s shutter was open, reflecting diffuse light off a lawn chair turned on its side. I had to take a few shots to get the exposure just right. This one took about a minute and a half, as I recall.
I love the unexpected results of this kind of shot—it reminds me to appreciate the photography of yore, when long exposures were necessary under even the brightest conditions, and a degree of uncertainty was the norm.
I’m sure that some of the fireflies appear in the photo not because of their own phosphorescence, but because they are being lit from the side by my flashlight. The glowing effect is magical nonetheless, and hopefully it captures the spirit of an early summer evening.
A great resource for do-it-yourselfers (or those who would like to be)
Have you ever wondered how people made things in the olden days before we had power tools, die casting, injection moulding, 3D printing, sheet metal stamping, or robot welding? Well wonder no more, because Mr. Chickadee will show you.
I’ve fallen in love with—and subscribed to—his YouTube channel, which features episodes on how to make all manner of things from split stones, forged metal strap hinges, door latches, and masonry heaters, to entire systems like a timber frame workshop built entirely by hand. There’s also a blog that features some thoughtful writing and photographs, but there’s something magical and mesmerizing about watching the process unfold before your eyes in the movie format. His carpentry skills are exquisite.
Sometimes content on YouTube can be hit-or-miss, but this channel’s production values really shine, and mirror the fine craftsmanship of the work being documented. The films are beautifully composed and shot, and expertly edited. Presumably this is the work of Mrs. Chickadee, who makes appearances in several of the episodes (when she does, the camera seems to be tripod-mounted, versus hand-held). Playful cameo appearances by their pets add an endearing touch.
One of the most notable features of these movies is the lack of background music or verbal narration. All you get are the stoic sounds of the work being done, set against a meditative backdrop of natural sounds like rain, crickets, birds, etc. At first this can be a little disorienting if you have no idea what is being done and are looking for answers in familiar written or verbal form. But if you are able, be patient, learn to trust your eyes and to absorb the information visually. Mr. Chickadee will not let you down. Onward to self-reliance!