Israel in Light and Shadow

While on a six-month sabbatical with my husband in Israel, I became curious about the multi-layered aspects of the country in terms of time and place. Thus my photographs serve as historical evidence and testimony, and provide visual analysis while functioning as a document and personal description of my journeys.  During subsequent trips, my work continued to explore the unique combination of sites thousands of years old with the serendipity of contemporary man-made interventions. The blue door served as a proscenium to record the diversity of people passing by chance near the Mahane Yehudah Market in Jerusalem.  At times, chance meteorological events and photographing at night provide further reference to the essence of light and shadow in Israel. 

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Portland Grid Project

The photographers of the Portland Grid Project use a map of Portland divided into grids a mile and a half square. Each month members independently photograph an assigned grid using a variety of films, cameras, and individual formats. At the end of the month everyone meets to look at each other’s photographs. The result is a unique portrait of Portland with its landforms, buildings, waterways, industrial areas, and parks portrayed in different seasons and times of day. Here are some samples of my work made during my time on the project. Visit portlandgridproject.com to see the full map and photographs.

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Personal History, With My Brownie Hawkeye Camera

I photographed my children with a 1950’s Kodak Brownie Hawkeye camera, beginning when my oldest son was one year old and ending with his high school graduation, while adding my second son to the project after his birth. This past year, I resumed this work to photograph them as adults. The final product reveals a personal, intimate glimpse of their world, describes and conveys a sense of time and place, and reflects my lifelong interest in biography, portraiture, and history. The format of the camera creates technical challenges and influences my style of making prints. I look down through a plastic viewfinder that reverses and rounds the scene. Adequate light proves essential. A hand-turned knob advances the film.  With no controls, the results become unpredictable, attuned by intuition. 

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