Been ages since I posted. This is “Supercurve,” taken in this morning’s fantastic fog at the Corner of I-30 and Loop 820.
This fine art print is 26×36 — Modified Switching Yard. Hardly recognizable from the original, which shows the Chicago & Northwestern Proviso Yard in Chicago from the Library of congress). There’s a lot going on here!
Oooo — so very happy with this. This fine art print is based on a photo from the Carol M. Highsmith collection at the Library of Congress. Stretched, sliced, diced, spindled and otherwise warped into something very different from the source.
Hmmm — it’s late Saturday afternoon and I’ve come up with a plaid city. Yet I can’t bring myself to call this “Plaid City,” and I’m not sure why. Several major skylines overlaid with one another — then blended and stretched and all that other stuff I do to them.
Moto Kanji #14 is definitely a departure from the original intent, but it’s based on the same idea, so I’ll file under Moto Kanji, rather than some new appellation. And I should probably just make my life easier and broaden the definition.
Actually, by calling it so, I guess I have already broadened the definition.
If you’re curious — which I hope you are — this is k-rail on Loop 820 in Northwest Fort Worth, where a car rubbed against the k-rail. I photographed this one this weekend while the house was pretty quiet, and I thought I could get out and get weird without causing too much stress.
Not at all what was expecting from Moto Kanji, but we can file this one under happy accidents.
This was photographed somewhere in Northwest Fort Worth, along with a metric crap-ton of other shots in and around Fall 2012. The colors and contrast were heavily massaged and adjusted in photoshop, but otherwise there are no other adjustments.
I have wrestled quite a bit over this fine art print — yesterday I released a very bright version of this with heavily saturated colors. Today I thought I’d share the same picture in B&W as Moto Kanji #11.
This one hews very close to my original idea of tire tracks as brush strokes. Especially in B&W — I hadn’t considered color originally, but as I started getting results, I discovered I loved the color shots, too.
I have wrestled quite a bit over this fine art print — I’ve tried a lot of color combinations and levels of saturation, and I think I’m happy. Well, I say that, but tomorrow I’ll release this in B&W as Moto Kanji #11.
This one hews very close to my original idea of tire tracks as brush strokes. I’ll be photographing more as I find time.