Long Exposure Landscapes, Portraits, and Light Paintings









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Inspirations List

   The following is a list of artists of many different mediums that I have drawn inspiration from throughout my life. I felt the need to create this list in the first place because I thought it might be interesting to reference and that it might reveal some of the subconscious ideas in my head behind why I do things the way that I do in my work. Although it is important to be original in what you do, it is also important to acknowledge that you are the product of what you see and what you admire. As artists continue to inspire me, I add them to the list. I have separated the artists by medium.     Photographers Nan Goldin Steve Roe Philip Lorca DiCorcia Daniel Mercadante Erin S. Murray Gabriel Isak Joshua Aronson Tanner Abel Platon     Video Directors Damien Chazelle Stanley Kubrick Titanic Sinclair John Hughes François Truffaut Hayao Miyazaki Spike Jonze Alejandro Jodorowsky     Traditional Artists Egon Shield...
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The Photograph as Contemporary Art: Chapter 3 Response

   Chapter 3, 'Deadpan', explores a photographic aesthetic which is significantly less dramatic and much more literal than the photography present in the previous chapters. Deadpan, as a style of photography, is more concerned with the subject itself rather than a photographer's subjective vision of said subject. The majority of these photographs are printed very large in order to highlight the clarity of the images and make an impact on the viewer.    One deadpan photographer that stood out to me in this chapter was Dan Holdsworth, who specializes in photographing "liminal spaces", or areas that exist in a limbo between the ambiguous and familiarity. Holdworth accomplishes this by setting up his camera for long exposures at night so that he can capture the lights of cars and streetlights as a luminescent landscape. His photograph Untitled (A machine for living) in particular captures something that could not be seen by a human, but still incorporates enough fam...
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