honorable mention
Richard Terpolilli united states
title
Series l: Awakening Shadows
The Chrysler Building No.1 is the only image that is not a long exposure. The shot was taken on the waters of the East River. This natural resource bristles with activity and called my attention to create an image not normally viewed from this perspective, and why not? Three other images were taken in New York at different times of the day and season and are long exposures. The last image is of the Christian Science Center taken in Boston. It is European in design with an accent of contemporary buildings shrouded by shadows on both sides of the edifice and dome
I never took photography seriously until one day the Public Broadcasting Station (PBS) did a special on Ansel Adams. I was hooked, and from that point forward I became obsessed with photography. I found my niche, ‘Fine Art Black and White Long Exposure.’
In 2014 my baptism started with a workshop in New York City with BW Vision Explorers and I then followed up with a extensive mentorship under Joel Tjintjelaar. My attention continues with fine art photography in black and white long exposure architecture, seascapes, floral still life, and occasional color fine art photography.
I always ask myself, “What excites me about the scene before I push the shutter release." I find that fine art photography communicates an emotional experience particularly long exposure. Long exposure moves away from physical existence as you see the world. Water and sky appear unnatural. Light and shadows become exaggerated and black and white becomes more aesthetic with regard to light, shadows, and shape. The camera is only a means of expression. No one can express what you feel better than yourself and the digital darkroom is my canvas and brush. The artist Jackson Pollock sums it up best, "It doesn’t make much difference how the paint is put as long as it says something.
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entry description
I am always fascinated by the influence of light and awakening shadows. Theirs is a personality bordering on confusion i.e., it's never static. Their temperament is a constant battle changing with every season, weather conditions, and multiple times during the day. The images presented in this series demonstrate how buildings behave with different intensities of light, light's position and its affect from morning to mid-day, and the days advancing hours. Light and shadows reveal form, shape, mood, and create mystery and silence. Once one can message light and shadow in the digital darkroom you can express your vision and create 'Fine Art'. It is the driving force in the world of art. It is the driving force to my Fine Art Photography Long Exposure ~ Architecture.The Chrysler Building No.1 is the only image that is not a long exposure. The shot was taken on the waters of the East River. This natural resource bristles with activity and called my attention to create an image not normally viewed from this perspective, and why not? Three other images were taken in New York at different times of the day and season and are long exposures. The last image is of the Christian Science Center taken in Boston. It is European in design with an accent of contemporary buildings shrouded by shadows on both sides of the edifice and dome
about the photographer
I was raised in the Finger Lakes Region from upstate New York. Following military service in the 60’s. I attended the University of Rhode Island College of Pharmacy. My career was in hospital pharmacy administration, clinical education, and on faculty at Brown University Medical School and the University of Rhode Island College of Pharmacy. During my career years I used a 35mm Minolta SLR for shooting family outings and travel excursions.I never took photography seriously until one day the Public Broadcasting Station (PBS) did a special on Ansel Adams. I was hooked, and from that point forward I became obsessed with photography. I found my niche, ‘Fine Art Black and White Long Exposure.’
In 2014 my baptism started with a workshop in New York City with BW Vision Explorers and I then followed up with a extensive mentorship under Joel Tjintjelaar. My attention continues with fine art photography in black and white long exposure architecture, seascapes, floral still life, and occasional color fine art photography.
I always ask myself, “What excites me about the scene before I push the shutter release." I find that fine art photography communicates an emotional experience particularly long exposure. Long exposure moves away from physical existence as you see the world. Water and sky appear unnatural. Light and shadows become exaggerated and black and white becomes more aesthetic with regard to light, shadows, and shape. The camera is only a means of expression. No one can express what you feel better than yourself and the digital darkroom is my canvas and brush. The artist Jackson Pollock sums it up best, "It doesn’t make much difference how the paint is put as long as it says something.
back to gallery