2010: Carnegie Photographed

From local newspapers to Carnegie’s website and map, my photos have often been used to illustrate Carnegie, capturing Main Street at dusk or the Memorial Day Parade, a detail of everyday life gone unnoticed, or a hidden treasure I’ve found while exploring.

A camera of some sort goes with me everywhere, and by living and working here in Carnegie, plus a good bit of walking and bicycling the subject of my photos is often my little town.

It’s truly been my pleasure to browse six years of photos and choose 14 which I hope will illustrate the familiar beauty of the streets we travel every day.

Since that exhibit in 2010

Since 2010 when this exhibit was first organize I’ve gone on to photograph Carnegie. You can find photos of Carnegie interspersed with other galleries, from Main Street, to the flowers in the planters, to snow on the railroad tracks. You can find a special collection in the gallery The Light in the Darkness, featuring winter wildflowers along Chartiers Creek, and Of Harps and Fig Leaves, photos of Andrew Carnegie Free Library.

The original Carnegie Photographed exhibit

Here is a gallery of the 14 photos included in that 2009 exhibit.

Available photos

These images are available as prints right now, but eventually this gallery will offer all the images you see above and a few others. If you’d like a print of one of the images that is not listed here, just ask.

Soldier

Soldier, Photo prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

In the dense, comforting shade of a century-old spreading maple, a section of the row of headstones farthest back in the military veteran’s section, the first stones to be installed during the Civil War, reads only:

SOLDIER
1861–1865

A father, brother, husband, son of someone, unknown, but honored by a headstone that tells of his final sacrifice, rests there.

One of the most moving photos I took from the 2010 Memorial Day ceremony at Chartiers Cemetery, but perhaps the most fitting, no name, no rank, no distinguishing remarks, but the most common thread of all, a soldier.

And not just in remembering the Civil War, or even other conflicts following. My ancestors were fighting their own civil wars in Eastern Europe at the time of America’s Civil War, only one in a long line of civil wars that perhaps finalized their decisions to leave the only land they’d known to come to America for freedom and a chance at the dream they’d never see, not even today, in the lands where their families had lived for centuries. A few decades later, they had no qualms about bearing arms and traveling back to those lands to protect the country they had embraced as their home. Centuries of soldiers everywhere who fought for freedom, protected their loved ones, gave their lives, each brought us a step closer. May the day soon come when no one needs to die for freedom.

This photo is one of my most often-shared images from my photo blog Today; I am honored. 

 

 

SHIPPING AND CHARGES

Shipping within the US is included in the cost of each print.

Prints up to 16″ x 20″ are shipped flat in a rigid envelope. Larger prints are shipped rolled in a mailing tube unless otherwise requested; flat shipping is an extra cost because it’s oversized.

GICLEE PRINTS

The giclees are printed on acid-free hot press art paper for a smooth matte finish using archival inks. Giclee is the highest quality print available because the technique uses a dozen or more ink ports to capture all the nuances of the original painting, including details of the texture, far more sensitive than any other printing medium. Sometimes my giclees look so much like my originals that even I have a difficult time telling them apart when they are in frames.

I don’t keep giclee prints in stock for most of my works. Usually I have giclees printed as they are ordered unless I have an exhibit where I’ll be selling a particular print so there is a wait of up to two weeks before receipt of your print to allow for time to print and ship.

I offer giclees of this painting in two different sizes: the full size of 31″ x 23″, a half-size of 16″ x 12.5″. The giclees have 2″ of white around the outside edges. All are countersigned by me.

DIGITAL PRINTS

Digital prints are made on acid-free matte-finish natural white 100# cover using archival digital inks. While digital prints are not the quality of a giclee in capturing every nuance and detail of color, texture and shading, I am still very pleased with the outcome and usually only I as the artist, could tell where detail and color were not as sharp as the original. Digital prints are only available up to 11″ x 17″ and some of the prints are cropped to fit standard mat and frame sizes.

Digital prints have at least 1/2″ around the edges depending on the size of the print. All are countersigned by me.

CANVAS PRINTS

Because the standard size canvas prints are not proportional to the original painting, canvas prints of this painting will have a portion cropped off.

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered because I have limited storage space. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting. This canvas mirrors the edges of the image around the sides.

FRAMED PRINTS

I do all my own framing and can custom frame a print for you. Please ask.

 

Evening Thoughts

Evening Thoughts, Photo are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

The domes and three bar crosses of Sts. Peter and Paul Ukrainian Orthodox Church in Carnegie silhouette against a sunset with colorful clouds billowing like thoughts forming in the sky.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope. Canvases are shipped in a box to fit with padding. Since this original is small it is also shipped in a box with extra padding.

FRAMED PRINTS

Framing depends on the size of the print. Framed prints are signed on the photo and on the mat.

Other custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

Sunset Tonight, photo

Sunset Tonight, Photo prints are made in archival inks on Epson Silky Photo Paper and signed by me.

Below is a current framed print of this photo. It’s the first one in the list of options above.

ABOUT THE ARTWORK

After a stormy start and a hot humid afternoon, the last of the storm clouds dispersed and the sun put on quite a show. I was not out in nature, I was driving through the city and suburbs, and it’s not often I find a spot that isn’t criss-crossed with wires and light poles rudely jutting into my sunset.  I this case just one light fixture and a cell tower and a bit of wires that I edited out. All worth it for a perfect sunset.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope. Canvases are shipped in a box to fit with padding. Since this original is small it is also shipped in a box with extra padding.

FRAMED PRINTS

A plain matte black frame and white mat is available. Visit “Framing” for details or ask about custom framing. Framed prints are signed on the photo and on the mat.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting. This canvas is black around the sides.

"A Good Traveler"

“A Good Traveler” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

“A good traveler has no fixed plans,
and is not intent on arriving.”

~Lao-Tzu in Chapter 27 of the Tao te Ching, tr. Stephen Mitchell

It doesn’t mean you make no plans, just that you allow them to change.

These geese look like a bunch of tourists ambling along, and yet on that day we had had heavy rains and our creek, their home, had nearly topped its banks. They had fled the water and the banks and were up in the parking lot and on the streets for safety, yet they were being calm and collected, for a bunch of geese, while the humans were racing around predicting a flood that was not likely to arrive, though it looked imminent.

But aside from that lesson, I’ve always liked the photo of the geese.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope. Canvases are shipped in a box to fit with padding. Since this original is small it is also shipped in a box with extra padding.

FRAMED PRINTS

The photo is double matted with black core white acid-free mat and a solid wood matte black 25″ x 23″ frame and I’ve used a more square layout, but the image can also be more rectangular, and other styles are often available; check the thumbnails above to see what’s available now or ask about custom framing. Framed prints are signed on the photo and on the mat.

Other custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, the sides of this photo are finished in black.

Main Street at Twilight, Photo, 2013

Main Street at Twilight, Photo prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

Click this image to see an enlarged version.

I have no idea how my little hand-held digital metered the colors like this, but I heartily approve! Honestly, this is not touched up in any way, even though the sky looks as if I either added from another photo, I adjusted the color in that area or I just painted in another sky. The whole thing looks like a movie set.

The time of day was twilight, after the sun dropped below the horizon but still reflected on the sky and the thin overcast of clouds. I know I pointed my focus spot on the darkest area in the scene, way down at the other end of Main Street, the building that is actually on a hill in the next community, and that would have influenced the internal metering especially since the scene looks very bright although it’s only the street lights that provide illumination. I can assure you they are not that bright.

And likely the yellow lights also pushed the complementary blue of the sky a little brighter than it actually was. However it happened, I approve.

This was taken with my little Lumix point and shoot where I have very little control, but the other settings that would have influenced this outcome are two I’ve always set on these little cameras. First, I turn the stabilizer mode, which will help to eliminate blurriness in low-light conditions, to “off” because in these small cameras it simply changes the ASA setting to a higher number. This results in a photo that looks great in your view screen, but when you open it up on your computer it’s completely grainy. I use a tripod, or, as in this case, I find something to set the camera on or press it against and set the shutter for a 2-second timed delay so that everything is as still as it’s going to get when the shutter finally opens.

Second, I set the EV, or exposure value, setting two or three steps below the middle. Most cameras shoot light so that as much light as possible gets into the lens, but you also lose detail in the highlights and I find it doesn’t meter well for images with a lot of contrast, which is usually what attracts me.

So, I guess that’s how this one turned out like this.

 

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope. Canvases are shipped in a box to fit with padding. Since this original is small it is also shipped in a box with extra padding.

FRAMED PRINTS

Check the thumbnails above to see what’s available now or ask about custom framing. Framed prints are signed on the photo and on the mat.

Other custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I’ve had this photo made into a canvas up to 30″ x 40″ and it looks great. Above are detail photos of a 24″ x 30″ canvas.

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides on this canvas are black.

 

Red, photo

“Red” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

Red, photo

Red, photo

Sometimes the scene is just visually stunning, especially with a little flash of angled late afternoon sun on that bright red Virginia Creeper. Love the peeling paint, the weathered wood, gentle dappled and reflected autumn light, cloudy windows and rusty chipping door hinge. Yet the creeper and the old garage have their own ways of fading into a new season: the plant flashes its brilliance before it fades after its one season of life, while the building fades though it gathers and carries memories from year to year.

Even though the autumn landscape is one big beautiful scene, this is my favorite iconic autumn photo for its contrasts and its focus on one small portion of the season. And that shade of red.

 

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope.

FRAMED PRINTS

Framed prints are signed on the photo and on the mat. Custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

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© 2017 | www.PortraitsOfAnimals.net | Published by Bernadette E. Kazmarski

All images used on this site are copyrighted to Bernadette E. Kazmarski unless otherwise noted and may not be used without my written permission. Please ask if you are interested in using one in a print or internet publication. If you are interested in purchasing a print of this image or a product including this image, check to see if I have it available already. If you don’t find it there, visit “purchasing” for availability and terms.

Autumn Rainbow

Autumn Rainbow, Photo prints are made in archival inks on Epson Silky Photo Paper and signed by me.

ABOUT THE ARTWORK

This is the colorful sugar maple that stands by Chartiers Creek on my way to Main Street. It’s like an old friend. I chose this angle because it had every color of leaf in it and filled the whole frame with just bits of that brilliant complementary blue autumn sky. Because the leaves are almost gradated in a semi-circle it made me think of a rainbow.

I had a few places to photograph autumn scenes for a couple of customers and I just couldn’t stop, not until the clouds covered the sky and the rain came. What a gorgeous autumn day to be running around in the woods and on Main Street and several other places trying to get the best autumn photos before the rain and cold! This is the colorful sugar maple that stands by Chartiers Creek on my way to Main Street. It’s like an old friend.

You can see more photos from this day in this post.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope. Canvases are shipped in a box to fit with padding. Since this original is small it is also shipped in a box with extra padding.

FRAMED PRINTS

A plain matte black frame and white mat is available. Visit “Framing” for details or ask about custom framing. Framed prints are signed on the photo and on the mat.

PHOTO PRINTS

Prints are made on acid-free gloss photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting. This canvas is black around the sides.

Exotic from "The Light in the Darkness" series.

“Exotic” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

Exotic from "The Light in the Darkness" series.

Exotic from “The Light in the Darkness” series.

“Exotic” is one in a series of photos I took late on a very dark day, and only in that darkness could I capture the delicate beauty of these dry remains of wildflowers I’d photographed through the rest of the year. I will be adding the other photos to my photo gallery here, and collected in a special gallery so you can enjoy the delicacy of gentle highlights, muted earth tones and exotic shapes that met me on my way. Below I have a gallery of all the photos in the collection, and the essay I wrote when I returned and selected the photos to share.

Purchase a print of “Exotic”

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope.

FRAMED PRINTS

Framed prints are signed on the photo and on the mat. Custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free matte photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

About The Light in the Darkness

I have had far worse days. Overwhelmed by the demands of commercial work as my customers and I prepared for the holidays along with merchandise orders and custom portraits and my own preparations for ending the year and beginning the next as a small business, I left the house at 4:00 p.m. destined for the post office and bank just before they closed.

Though I had walked this half mile route from my home to Main Street for years, I had lately been driving, using the need to save time or the awkwardness of a pile of packages as an excuse for wasting gas and a chance at exercise and fresh air. The day was hardly inspiring—five days prior to the winter solstice the days were frighteningly short, sunset less than an hour away, and in a series of heavy dark days typical of this area in late autumn and early winter, dense pasty clouds hanging low overhead and so dark it had felt like dusk at noon, and now some of the street lights on Main Street were already alight. I nearly always take photos on these walks, and while I laid the strap of my camera bag over my shoulder I was glad that, for once, I would probably not find anything to photograph and take time from my day in conditions like these.

Traffic was heavy so I took my route under the bridge, next to the creek where traffic noises faded and birds sang, a trickling sound as water flowed smoothly past over the rocks in the shallow waterway. And in the dim and fading light a world so familiar at first appeared dark and nearly colorless until my eyes adjusted to the light and found such wonders among the wildflowers along the way, standing upright though dried and every shade of brown and tan and umber I found fantastical birds, abstract sculptures, amazing complex patters among the dried flower heads, exposed and broken seed pods, leaves clinging curled to stems.

I could not stop for the post office and bank both closed at 4:30, so I walked as fast as I could with my camera bag on one shoulder and a large canvas bag of packages on the other so that I could amble back through this wonderland on my way back to my neighborhood. The light was so dim then, as the time approached sunset within minutes, that I had to set the ISO of my camera on 800 to get anything but vague images floating in sepia darkness, even with all my settings to admit as much light as possible.

These plants had sprung up from seeds tossed here on the wind and water, carried by birds and people walking past, sprouted in spring, housed birds and insects in summer, borne their flowers in summer and fall. I had walked among them many times with my camera and sketchpad, I knew where each stood, when they bloomed, their botanical names and history, I looked for them each year and anticipated the best times to compose the images I visualized, but this was a gift in its unfamiliarity.

Now, after several frosts, autumn storms and snow, the weak parts had been stripped away and the strongest parts of them were burnished by adversity and stood dignified in the dimness, with just enough sheen to highlight their most interesting shapes, textures and combined patterns.

The background now, rather than the usual details of other plants and flowers, was darkness, the more perfect to silhouette each delicate construction as if in a gallery featuring the finest art.

Milkweed pods became flocks of fantastical birds, or individual exotic species clinging to stems. Tightly curled dried flowers or clusters of puffy seeds set loose, sere and twisted leaves and flowers of another time. Even the holiday decorations in a shop front, capturing the blue from the late afternoon light with highlights from the store within echoed the shapes and patterns of the natural forms outdoors, as the raindrops that would soon fall.

I arrived home with dirty shoes from walking in mud, and dirty knees from kneeling in wet grass, bits of leaves and stems and seeds flocked with frills to carry them on the wind on my skirt and jacket, in my hair, on my bags, souvenirs of a timeless magic, both in letting go of the time of day, and letting go of time altogether for that period. I only let go and rejoined the day because it was too dark to photograph any longer.

I am grateful to this gift of creative vision that releases me from everyday cares for just a short time, exercises those aesthetic senses and relaxes the overused worry lines, and gives me these wonderful gifts of images to share, just for noticing the inspiration was there.

There is always something new to learn about the things we think we know well. Never forget that when the light seems dim there is much to be seen with the heart, and when adversity has taken away the quick and obvious beauty, the strongest parts remain, dignified in their naked and twisted strength.

 

Winter Lilies from "The Light in the Darkness" series.

“Winter Lilies” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

Winter Lilies from "The Light in the Darkness" series.

Winter Lilies from “The Light in the Darkness” series.

These delicately fluted flowers are actually the opened seed pods from evening primrose, a native wildflower, but rarely do we appreciate the dry faded portions of wildflowers strong enough to survive and make a statement long after the brilliant flowers and verdant leaves are gone.

These flowers grow on the sloping bank along Chartiers Creek. I was actually under the bridge with four lanes of traffic overhead, using my telephoto lens to capture them growing from the rip rap, or the covering of large stones and pieces of broken concrete that hold the creek bank in place during high water events, and could not get closer than five feet away.

The days can be very dark at this time of the year, as is often the case in these last days of autumn when night comes early. But fog and heavy overcast had left the days nearly monochromatic, or in the gray and sepia duotone I find so familiar in conditions like these. I took a walk to the post office and bank in the late afternoon, within an hour of sunset, but even with the light fog, overcast and depending day, I knew I’d find the beauty in the day, emerging from the mist, washed in delicate highlights, familiar things looking completely foreign, taken out of their own context.

This photo is one in the gallery I call The Light in the Darkness.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope.

FRAMED PRINTS

Framed prints are signed on the photo and on the mat. Custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free matte photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

About The Light in the Darkness

I have had far worse days. Overwhelmed by the demands of commercial work as my customers and I prepared for the holidays along with merchandise orders and custom portraits and my own preparations for ending the year and beginning the next as a small business, I left the house at 4:00 p.m. destined for the post office and bank just before they closed.

Though I had walked this half mile route from my home to Main Street for years, I had lately been driving, using the need to save time or the awkwardness of a pile of packages as an excuse for wasting gas and a chance at exercise and fresh air. The day was hardly inspiring—five days prior to the winter solstice the days were frighteningly short, sunset less than an hour away, and in a series of heavy dark days typical of this area in late autumn and early winter, dense pasty clouds hanging low overhead and so dark it had felt like dusk at noon, and now some of the street lights on Main Street were already alight. I nearly always take photos on these walks, and while I laid the strap of my camera bag over my shoulder I was glad that, for once, I would probably not find anything to photograph and take time from my day in conditions like these.

Traffic was heavy so I took my route under the bridge, next to the creek where traffic noises faded and birds sang, a trickling sound as water flowed smoothly past over the rocks in the shallow waterway. And in the dim and fading light a world so familiar at first appeared dark and nearly colorless until my eyes adjusted to the light and found such wonders among the wildflowers along the way, standing upright though dried and every shade of brown and tan and umber I found fantastical birds, abstract sculptures, amazing complex patters among the dried flower heads, exposed and broken seed pods, leaves clinging curled to stems.

I could not stop for the post office and bank both closed at 4:30, so I walked as fast as I could with my camera bag on one shoulder and a large canvas bag of packages on the other so that I could amble back through this wonderland on my way back to my neighborhood. The light was so dim then, as the time approached sunset within minutes, that I had to set the ISO of my camera on 800 to get anything but vague images floating in sepia darkness, even with all my settings to admit as much light as possible.

These plants had sprung up from seeds tossed here on the wind and water, carried by birds and people walking past, sprouted in spring, housed birds and insects in summer, borne their flowers in summer and fall. I had walked among them many times with my camera and sketchpad, I knew where each stood, when they bloomed, their botanical names and history, I looked for them each year and anticipated the best times to compose the images I visualized, but this was a gift in its unfamiliarity.

Now, after several frosts, autumn storms and snow, the weak parts had been stripped away and the strongest parts of them were burnished by adversity and stood dignified in the dimness, with just enough sheen to highlight their most interesting shapes, textures and combined patterns.

The background now, rather than the usual details of other plants and flowers, was darkness, the more perfect to silhouette each delicate construction as if in a gallery featuring the finest art.

Milkweed pods became flocks of fantastical birds, or individual exotic species clinging to stems. Tightly curled dried flowers or clusters of puffy seeds set loose, sere and twisted leaves and flowers of another time. Even the holiday decorations in a shop front, capturing the blue from the late afternoon light with highlights from the store within echoed the shapes and patterns of the natural forms outdoors, as the raindrops that would soon fall.

I arrived home with dirty shoes from walking in mud, and dirty knees from kneeling in wet grass, bits of leaves and stems and seeds flocked with frills to carry them on the wind on my skirt and jacket, in my hair, on my bags, souvenirs of a timeless magic, both in letting go of the time of day, and letting go of time altogether for that period. I only let go and rejoined the day because it was too dark to photograph any longer.

I am grateful to this gift of creative vision that releases me from everyday cares for just a short time, exercises those aesthetic senses and relaxes the overused worry lines, and gives me these wonderful gifts of images to share, just for noticing the inspiration was there.

There is always something new to learn about the things we think we know well. Never forget that when the light seems dim there is much to be seen with the heart, and when adversity has taken away the quick and obvious beauty, the strongest parts remain, dignified in their naked and twisted strength.

"Oh", photo.

“Oh” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

"Oh", photo.

“Oh”, photo.

That was my reaction.

The days can be very dark at this time of the year, as is often the case in these last days of autumn when night comes early. But fog and heavy overcast had left the days nearly monochromatic, or in the gray and sepia duotone I find so familiar in conditions like these. I took a walk to the post office and bank in the late afternoon, within an hour of sunset, but even with the light fog, overcast and depending day, I knew I’d find the beauty in the day, emerging from the mist, washed in delicate highlights, familiar things looking completely foreign, taken out of their own context.

This is a cluster of milkweed pods. They look like something that came from outer space in the best of times, but especially against the muted background their slightly rough and ridged surface, elongated shape and smooth opening where the seeds are still escaping they truly look like alien constructions. Put a bunch of them together at the end of a long and curving stem and we know the aliens have landed, and possibly one of their birds has come to light on a stem, or a group have clustered together to survey this strange new world.

These grow on the sloping bank along Chartiers Creek. I was actually under the bridge with four lanes of traffic overhead, using my telephoto lens to capture them growing from the rip rap, or the covering of large stones and pieces of broken concrete that hold the creek bank in place during high water events, and could not get closer than five feet away. I walked in a semi-circle to get the best angle of this alien object and this was my favorite.

This photo is one in the gallery I call The Light in the Darkness.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope.

FRAMED PRINTS

Framed prints are signed on the photo and on the mat. Custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free matte photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

About The Light in the Darkness

I have had far worse days. Overwhelmed by the demands of commercial work as my customers and I prepared for the holidays along with merchandise orders and custom portraits and my own preparations for ending the year and beginning the next as a small business, I left the house at 4:00 p.m. destined for the post office and bank just before they closed.

Though I had walked this half mile route from my home to Main Street for years, I had lately been driving, using the need to save time or the awkwardness of a pile of packages as an excuse for wasting gas and a chance at exercise and fresh air. The day was hardly inspiring—five days prior to the winter solstice the days were frighteningly short, sunset less than an hour away, and in a series of heavy dark days typical of this area in late autumn and early winter, dense pasty clouds hanging low overhead and so dark it had felt like dusk at noon, and now some of the street lights on Main Street were already alight. I nearly always take photos on these walks, and while I laid the strap of my camera bag over my shoulder I was glad that, for once, I would probably not find anything to photograph and take time from my day in conditions like these.

Traffic was heavy so I took my route under the bridge, next to the creek where traffic noises faded and birds sang, a trickling sound as water flowed smoothly past over the rocks in the shallow waterway. And in the dim and fading light a world so familiar at first appeared dark and nearly colorless until my eyes adjusted to the light and found such wonders among the wildflowers along the way, standing upright though dried and every shade of brown and tan and umber I found fantastical birds, abstract sculptures, amazing complex patters among the dried flower heads, exposed and broken seed pods, leaves clinging curled to stems.

I could not stop for the post office and bank both closed at 4:30, so I walked as fast as I could with my camera bag on one shoulder and a large canvas bag of packages on the other so that I could amble back through this wonderland on my way back to my neighborhood. The light was so dim then, as the time approached sunset within minutes, that I had to set the ISO of my camera on 800 to get anything but vague images floating in sepia darkness, even with all my settings to admit as much light as possible.

These plants had sprung up from seeds tossed here on the wind and water, carried by birds and people walking past, sprouted in spring, housed birds and insects in summer, borne their flowers in summer and fall. I had walked among them many times with my camera and sketchpad, I knew where each stood, when they bloomed, their botanical names and history, I looked for them each year and anticipated the best times to compose the images I visualized, but this was a gift in its unfamiliarity.

Now, after several frosts, autumn storms and snow, the weak parts had been stripped away and the strongest parts of them were burnished by adversity and stood dignified in the dimness, with just enough sheen to highlight their most interesting shapes, textures and combined patterns.

The background now, rather than the usual details of other plants and flowers, was darkness, the more perfect to silhouette each delicate construction as if in a gallery featuring the finest art.

Milkweed pods became flocks of fantastical birds, or individual exotic species clinging to stems. Tightly curled dried flowers or clusters of puffy seeds set loose, sere and twisted leaves and flowers of another time. Even the holiday decorations in a shop front, capturing the blue from the late afternoon light with highlights from the store within echoed the shapes and patterns of the natural forms outdoors, as the raindrops that would soon fall.

I arrived home with dirty shoes from walking in mud, and dirty knees from kneeling in wet grass, bits of leaves and stems and seeds flocked with frills to carry them on the wind on my skirt and jacket, in my hair, on my bags, souvenirs of a timeless magic, both in letting go of the time of day, and letting go of time altogether for that period. I only let go and rejoined the day because it was too dark to photograph any longer.

I am grateful to this gift of creative vision that releases me from everyday cares for just a short time, exercises those aesthetic senses and relaxes the overused worry lines, and gives me these wonderful gifts of images to share, just for noticing the inspiration was there.

There is always something new to learn about the things we think we know well. Never forget that when the light seems dim there is much to be seen with the heart, and when adversity has taken away the quick and obvious beauty, the strongest parts remain, dignified in their naked and twisted strength.

Elven Goblet from "The Light in the Darkness" series.

“Elven Goblet” prints are made in archival inks on Epson Silky Photo Paper, Cold Press Digital Giclee Paper or Artist Canvas.

ABOUT THE ARTWORK

Elven Goblet from "The Light in the Darkness" series.

Elven Goblet from “The Light in the Darkness” series.

The Queen Anne flower has closed up to form a cup suitable for a midwinter celebration by the elves.

These flowers grow on the sloping bank along Chartiers Creek. I was actually under the bridge with four lanes of traffic overhead, using my telephoto lens to capture them growing from the rip rap, or the covering of large stones and pieces of broken concrete that hold the creek bank in place during high water events, and could not get closer than five feet away.

The days can be very dark at this time of the year, as is often the case in these last days of autumn when night comes early. But fog and heavy overcast had left the days nearly monochromatic, or in the gray and sepia duotone I find so familiar in conditions like these. I took a walk to the post office and bank in the late afternoon, within an hour of sunset, but even with the light fog, overcast and depending day, I knew I’d find the beauty in the day, emerging from the mist, washed in delicate highlights, familiar things looking completely foreign, taken out of their own context.

This photo is one in the gallery I call The Light in the Darkness.

SHIPPING

Shipping within the US is included in all the prices listed. All shipping is via Priority Mail. Prints are shipped flat in a rigid envelope.

FRAMED PRINTS

Framed prints are signed on the photo and on the mat. Custom framing options are also available for a special quote. Please ask if you’d like another option.

PHOTO PRINTS

Prints are made on acid-free matte photo paper using archival digital inks. I usually leave an inch or two of white around the print for easier frame fitting. All prints are countersigned by me.

Larger sizes are available than what I have listed, so please ask if you want a special size.

CANVAS PRINTS

I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered here because customers often want a custom size. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting.

About The Light in the Darkness

I have had far worse days. Overwhelmed by the demands of commercial work as my customers and I prepared for the holidays along with merchandise orders and custom portraits and my own preparations for ending the year and beginning the next as a small business, I left the house at 4:00 p.m. destined for the post office and bank just before they closed.

Though I had walked this half mile route from my home to Main Street for years, I had lately been driving, using the need to save time or the awkwardness of a pile of packages as an excuse for wasting gas and a chance at exercise and fresh air. The day was hardly inspiring—five days prior to the winter solstice the days were frighteningly short, sunset less than an hour away, and in a series of heavy dark days typical of this area in late autumn and early winter, dense pasty clouds hanging low overhead and so dark it had felt like dusk at noon, and now some of the street lights on Main Street were already alight. I nearly always take photos on these walks, and while I laid the strap of my camera bag over my shoulder I was glad that, for once, I would probably not find anything to photograph and take time from my day in conditions like these.

Traffic was heavy so I took my route under the bridge, next to the creek where traffic noises faded and birds sang, a trickling sound as water flowed smoothly past over the rocks in the shallow waterway. And in the dim and fading light a world so familiar at first appeared dark and nearly colorless until my eyes adjusted to the light and found such wonders among the wildflowers along the way, standing upright though dried and every shade of brown and tan and umber I found fantastical birds, abstract sculptures, amazing complex patters among the dried flower heads, exposed and broken seed pods, leaves clinging curled to stems.

I could not stop for the post office and bank both closed at 4:30, so I walked as fast as I could with my camera bag on one shoulder and a large canvas bag of packages on the other so that I could amble back through this wonderland on my way back to my neighborhood. The light was so dim then, as the time approached sunset within minutes, that I had to set the ISO of my camera on 800 to get anything but vague images floating in sepia darkness, even with all my settings to admit as much light as possible.

These plants had sprung up from seeds tossed here on the wind and water, carried by birds and people walking past, sprouted in spring, housed birds and insects in summer, borne their flowers in summer and fall. I had walked among them many times with my camera and sketchpad, I knew where each stood, when they bloomed, their botanical names and history, I looked for them each year and anticipated the best times to compose the images I visualized, but this was a gift in its unfamiliarity.

Now, after several frosts, autumn storms and snow, the weak parts had been stripped away and the strongest parts of them were burnished by adversity and stood dignified in the dimness, with just enough sheen to highlight their most interesting shapes, textures and combined patterns.

The background now, rather than the usual details of other plants and flowers, was darkness, the more perfect to silhouette each delicate construction as if in a gallery featuring the finest art.

Milkweed pods became flocks of fantastical birds, or individual exotic species clinging to stems. Tightly curled dried flowers or clusters of puffy seeds set loose, sere and twisted leaves and flowers of another time. Even the holiday decorations in a shop front, capturing the blue from the late afternoon light with highlights from the store within echoed the shapes and patterns of the natural forms outdoors, as the raindrops that would soon fall.

I arrived home with dirty shoes from walking in mud, and dirty knees from kneeling in wet grass, bits of leaves and stems and seeds flocked with frills to carry them on the wind on my skirt and jacket, in my hair, on my bags, souvenirs of a timeless magic, both in letting go of the time of day, and letting go of time altogether for that period. I only let go and rejoined the day because it was too dark to photograph any longer.

I am grateful to this gift of creative vision that releases me from everyday cares for just a short time, exercises those aesthetic senses and relaxes the overused worry lines, and gives me these wonderful gifts of images to share, just for noticing the inspiration was there.

There is always something new to learn about the things we think we know well. Never forget that when the light seems dim there is much to be seen with the heart, and when adversity has taken away the quick and obvious beauty, the strongest parts remain, dignified in their naked and twisted strength.

Other photos and art of Carnegie

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© 2017 | www.PortraitsOfAnimals.net | Published by Bernadette E. Kazmarski

All images used on this site are copyrighted to Bernadette E. Kazmarski unless otherwise noted and may not be used without my written permission. Please ask if you are interested in using one in a print or internet publication. If you are interested in purchasing a print of this image or a product including this image, check to see if I have it available already. If you don’t find it there, visit “purchasing” for availability and terms.