Why this Inventory Sale?

From time to time I’m moved to hold a sale of my framed inventory photographs. Due to the nature of my work, I periodically outgrow the space I need to exhibit and store my photography. Currently-hung work must come off the gallery walls to make space for the new creations.  Because of this, many fine pieces must go into storage and then remain invisible to visitors of my gallery. Out of sight… out of mind. so, I’m announcing a deep-discount sale because I want these photographs to find homes, and I must clear the gallery walls to show my new works. It makes no sense for me to dilly-dally with the discount. Hence, I offer a 50% discount so we all can get something we want.

My assistant and I spent the week photographing my inventory of framed photographs, including the ones currently hanging on my gallery walls. We built a web gallery of the 40+ artworks and have put the pre-sale access here: 50% OFF SALE.  If you’re one of the lucky readers who subscribe to my email newsletter or this web blog, you now have advance access to this sale. Whatever is left will be moved down to my gallery and offered to the general public during a 4-day event holiday event: May 23-26, Memorial Day Weekend. You can come to the gallery then to see what’s left, or you can act now to secure your favorite from the online preview.

The photographs come from several exhibitions of my work over the last few years. There’s a variety of styles including classic landscapes, barn interiors, infrared and macro abstract work. Here are just a few of the 40+ photographs included in the sale:
(Click any of these to see its enlarged version)

Ebb Tide, McClures Beach  Print #3  12x20 in 20x27   AR Glass

 

Platform Bridge Road  Print #2  13x20 in 20x26   AR Glass   List

 

M-59   Wetlands Barn 1102   Print #1  14x13 in 22x22   AR Glass

 

M-52  Terrain 677   13x10 in 20 x 16  #1/40  List  $400 - SALE $

Abbotts Lagoon at Daybreak

I had the good fortune to greet the sunrise at Abbotts Lagoon this last Saturday morning. I was coaching two photographers on a field photography workshop. We arrived before daybreak and began walking west toward the Pacific. We had planned our walk to coincide with the changing light from the rising sun. As we started, a few stars were still visible in the darkened western sky.

Of all the places in the Point Reyes Seashore, none rivals Abbotts Lagoon for its quiet beauty, especially on an early spring morning. On our day, wisps of fog lifted from the ground as the sun began to warm us. We walked the one-mile trail from the parking lot to the sand dunes that line the lagoon and separate it from the Pacific Ocean. Along the way, there were moments of light and space so sweet that I dared only whisper to my friends. I feared that my full voice would shatter the peace that held us in this holy place. Here are a few photos I made during our walk.

Abbotts Lagoon 31514 825 AM

Abbotts Lagoon 31514 806 rAMGreat Blue at Abbotts Lagoon 2

Wild Sky Over Point Reyes

Jean and I were surprised to hear a knock on our front door last Friday, Valentine’s Day. I had just gotten back from the gallery and was putting away my laptop in my studio at the front of the house. As I walked back to see who our visitor was, I heard a familiar voice, “Well, just tell Marty about this. He should take a look.” It was Tom, our next-door neighbor. When he saw me he repeated what he told Jean. “There’s an incredible sky, never seen anything quite like it. You should take a look, maybe photograph it.”

I thanked him for the tip and abruptly went back to grab my infrared camera. In seconds I was out the door and heading out to find an unobstructed view of the sky. It was a half hour before sunset and the display above me was remarkable. I walked across the street to the Wetlands, and for about 10 minutes pointed my lens up. Tom was right. There’s no way to describe this with words. Here’s a few of the photographs. More photos of this wild sky are posted in my Zenfolio catalog: Skyscapes

wetlands Sky 14.25

wetlands Sky 14.39 Wetlands Sky 14.41 Wetlands Sky 14.24

Does the Print Matter in the Digital Era?

There’s been much talk lately about the demise of the photographic print and the rise of its would-be replacement, the electronically presented digital image. Some will tell you that the battle is already over and that soon there will be no printing and no prints. After all, they say, we already view most of our photographs on laptops, tablets, or, lordy-me, our smart phone screens.  I’ll admit that back-lit, digital photographs viewed on today’s lcd screens are stunning, but I’m not ready to write the obit for the traditional photographic print.

Although the trans-illuminated image and the photographic print each inform and communicate, they affect us in fundamentally different ways. The electronic image is powerful but transitory, depending on electrical charges to exist. It’s elusive, like a dream that’s gone when we awaken. On the other hand, the photographic print is tangible and persistent. We can feel it’s solidity, sense it’s presence. It is there when we want it, accessible as long as there is light. Each serves different purposes–one represents art, the other is art.

Prints are a feast for our senses, whether framed, jewel-like, behind glass, or available to hold and touch from their folders and boxes. I love the way they feel in my hands, their weight and texture. I even enjoy their signature scents. It’s good that they’re still there when I walk in a room and look up at the wall. I also like knowing that I am looking at the image the way the artist wanted me to see it. I just feel more connected to prints than I do to the digital images that appear and disappear on my computer screen.

Nevertheless, digital images on my lcd screen are indispensable to my work. I use digital imaging both for the creation and representation of my artwork. I know that these electronic images are not the actual art, but rather the processing tools for the finished pieces, my  prints. And it is deeply satisfying to express my feelings and thoughts using this technology to create real and enduring artifacts. I keep clear the distinction between digital image and print, not confusing one for the other.

I love the fact that these digital images do become tangible–appearing in a book, a folio, or a frame–for us to see, hold and touch. And, over time, the enduring presence of a tangible print on our wall, will grow with us in a way that a fleeting image can’t.

So, the next time you reach into your wallet to fish out that precious photo of someone you love, be glad that we still have and can make photographs on paper. It’s a tradition that isn’t going to go away anytime soon!

Radiant Light Show Ends

My annual winter holiday exhibit ended this Sunday, January 5th. These last six weeks have been a gratifying time. Since we opened the show on Thanksgiving weekend, we’ve sold several major pieces. And, just as significant, Jean and I saw lots of smiling faces and received many compliments on the photographs displayed here. I’m inspired to continue my work of capturing images in the luminous world of infrared light! New work will be announced here and at my website, MartyKnapp.com

Although the event has ended, you can still order prints online. First, browse the Radiant Light Preview Gallery, copy the title of the photo you want and then paste it into the appropriate field at my Online Orders Page. Versions are available from elegant affordably-priced miniatures, to large dramatic wall art presentations.

For those who weren’t able to see my exhibit, I’ve posted a few photographs of the gallery I made before and during our opening reception on Thanksgiving Weekend. Enjoy!

Jean & Lily before doors open at Radiant Light show.

Jean & Lily before doors open at Radiant Light show.

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Main wall of Radiant Light Exhibit

cliff_kingston

Fellow photographer Cliff Kingston gesticulates at the opening.

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Counter area of Marty Knapp Photo Gallery

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North corner view of Radiant Light Exhibit

dunes_radiant

Dunes infrared photos in lobby

Death Valley October 2013

I’m just back from a week of photography in Death Valley and the Alabama Hills. Met up with my friends, fellow photographers Hadley and Marty. I shot everything with my infrared  Panasonic G1. We spent most of our time in the Eureka Flat Dunes, where we found thousands of footsteps the first day. Later we were blessed with a pristine landscape after a day of ferocious winds swept the dunes clean. I’ll post some of my best compositions from the trip here. For those of you who’d like to see a larger group of my selected photographs, check out the Death Valley 2013 Gallery posted on my Zenfolio site.

I’m working on my annual winter holiday exhibition and I’ve decided to include several of these new Death Valley photos. The New Works 2013 Holiday Show – Radiant Light: Infrared Landscapes will be at my gallery on the main street in Point Reyes Station.

Here’s a link to the downloadable exhibition announcement: radiant-light-card

Opens Thanksgiving weekend Friday, November 29 and runs through Sunday, January 5.
*Artist Reception is Saturday, November 30th, 3-5pm.

Click any of these images to bring up the larger versions:

Mesquite Dunes 13.683

Mesquite Dunes 13.733Mesquite Dunes 13.741Mesquite Dunes 13.763

Going Deeper by Slowing Down

MUSINGS ON THE CREATIVE PROCESS
Finding Your Photograph:
Going Deeper by Slowing Down

Snow & Ranch Fence

I believe that the creation of an expressive photograph is born from a dance between the rational and the intuitive. Each faculty is fundamental to and inseparable from the creative effort. Both the heart and the mind must participate if the photograph is to have enduring value…  to express something deeper than the mere surface of things.

I know from first-hand experience that making an expressive photograph through sheer will-power alone is not easy. I’ve learned that my ability to discover and express what I see and feel works best when I let go of my willfulness and preconceived ideas. I set aside a specific time for creative connections to occur.  I try to slow down to connect more deeply with what I see. It may be difficult to let go during this time, but I know that if I do, the creative rewards can be richly fulfilling.

To create, I need time to wander, with no pressing family or work obligations. I’ll set off slowly, exploring my back yard, or perhaps I’ll walk around the neighborhood, or amble around at a nearby natural location. This is not a time for multi-tasking, so I don’t try to do any cardio-vascular working out at this time! I empty my mind, forgetting any ideas of what I might or should photograph. Sometimes I’ll leave my camera behind, and “photograph” with my eyes, making a mental note to return with camera if something beckons. This working without my camera can open up new ideas. I see things I never noticed when I had my camera glued to my forehead. When I do carry my camera, I keep it tucked away in the bag, and resist making any photographs, unless something calls out —  strongly. When that happens it’s a little like falling in love… creative juices begin to flow. My response comes more from my heart than my brain.

Everything slows down. I approach the object of my interest with care and respect. I become fascinated, drawn. I become involved, sensing that my participation is being requested. I offer my undivided attention. I approach slowly, moving up for a closer look. Still no camera, I simply use my eyes, moving my body into various positions checking the changing shapes, perspectives and relationships of things to each other as I move side to side, close and away. It is during this time that I will decide whether I will make a photograph.

I rarely make a photograph based on the very first way I see something. There’s something about spending the time, delighting in seeing the various aspects, a prelude to deciding on a composition. This is where I really get to see! Something of me, my connection to this scene, has a chance to arise as I explore in this way. And this is where art has a chance to occur– A collaboration of the scene and my reaction to it that I hope will become embedded and expressed in my photograph. When the process works, these feelings and thoughts will also come across to the viewer of the image.

Now it’s time to take out the camera