COLOR FIELDS. STAY TUNED

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CAMERAS SHOW A REPRESENTATION OF A 3 DIMENSIONAL WORLD..  PHOTOGRAPHS THEMSELVES ARE 2 DIMENSIONAL WHILE  THE ACCEPTED LANDSCAPE PRACTICE IS TO GAIN AS MUCH 3 DIMENSIONALITY AND DEPTH AS POSSIBLE,  THUS THE ADVICE TO USE A WIDE ANGLE LENSES FOR LANDSCAPE PHOTOGRAPHS.  VIEWPOINTS ARE CONSIDERED FOR ADDING DEEP SPACE. " A GREAT FEELING OF SPACE  AND DEPTH" IS OFTEN SIGHTED AS THE ULTIMATE GOAL..

BRETT WESTON ONCE CHIDED ANSEL ADAMS FOR BEING AN 18TH CENTURY LANDSCAPE PAINTER  DUE TO HIS STRAIGHTFORWARD REPRESENTATION OF 3 DIMENSIONAL NATURE ALONG PAINTERLY  TRADITIONS.  BRETT, AND HIS FATHER EDWARD, BROKE THAT  MOLD. THEY WANTED THEIR  WORK TO BE MODERN AND THEREFORE OFTEN ABSTRACTED NATURE, REMOVING ANY SENSE OF DEPTH TO DRAW VIEWERS CLOSER TO THE FLAT SURFACE OF THE PHOTOGRAPH.  BRETTS   CREATIVE PHOTOGRAPHS  REVEALED A DEEP, SEARCHING EYE UNLIKE ANYONE BEFORE HIM..  

I FOLLOW  THIS PRACTICE IN MY COLOR PHOTOGRAPHY WHEN THE OPPORTUNITY PRESENTS ITSELF. I ATTEMPT TO LOOK FOR THE 2 DIMENSIONAL IN NATURE. THROUGH VIEWPOINT SELECTION,  I ATTEMPT TO BRING EVERYTHING TO ONE FLAT PICTURE PLANE, ELIMINATING ANY SENSE OF DEPTH IN THE PHOTOGRAPH.  RALPH GIBSON HAS SPOKEN OF THIS IN HIS WRITINGS IN REFLECTIONS.  LOOKING  FOR  COLOR TO DOMINATE, RATHER THAN DEPTH,  I'VE MADE SOME PROGRESS I HOPE IT IS DEMONSTRATED IN THE  PHOTOGRAPHS BELOW . TO ME,  THIS DOES  RESULT IN A MORE A MORE MODERN AESTHETIC WHERE THE COLOR ALONE BECOMES THE ESSENCE OF THE PHOTOGRAPH, WITH NATURE AS THE INSPIRATION, COLOR  FIELDS  AS THE  ULTIMATE MOTIVE, NOT THE WORLD OF 3 DIMENSIONS.