I crossed to the northwest corner at Dewey and Grover streets where sits the house where the Mill’s family had lived in the nineteen fifties and sixties. It had been a beautiful place then.
Mr. Mills restored antique cars and he lavished that same care and attention on his home as he did his restorations. But on this day, more than forty five years later, the place stood vacant. The lawn was overgrown, several of the upper windows were broken and the exterior paint was faded and peeling.
I’d come to Owosso this morning to take photographs of the neighborhood in which I’d grown up. My plan had been to roam about and photograph whatever caught my attention. As I looked at what had been the Mill’s home, I noticed the vintage television antenna on the roof. It was laying on its side and seemed to be reaching up to the tree above it, reminiscent of Michelangelo’s painting in the Sistine Chapel; the hand of God reaching down to Adam.
The tree’s branches were budding with spring’s promise. In contrast the antenna lay lifeless and cold—an anachronism. It was probably the very antenna that once brought into the Mill’s living room the Lone Ranger, Soupy Sales, Sky King, and Roy Rogers, in black and white, in those days of innocence and ignorance.
Looking through the viewfinder I composed to include the antenna, roofline and branches. I made 3 or 4 exposures and was satisfied. But then, I noticed in the distance, the contrail of high flying jet approaching from the east. I thought, if I could make the same photograph, but this time with the contrail included, it would enrich the meaning of the picture.I returned the camera to the tripod and composed for the same scene again. When the long white line came into the frame I made several exposures to be sure I got a good one. And I did.
I made a photograph that day that contrasted the natural and the manufactured, the then and now. I had made a photograph that displayed a pleasing arrangement of shapes, tones and lines—a photograph of good geometry. It spoke to the history of the last century and the one we now live in. It is one of the most satisfying photographs I have ever made. And not once during that process, nor since, did I feel I needed more than the 12 megapixel capability of the Nikon D90 I used.
NOTE: This piece was originally written in 2013 and revised 5 November 2019.
I came of age before the personal computer was common. I learned to draw and paint using ink, charcoal, pencils, watercolors, acrylics and pastels. But in the 1980s, as a young graphic designer and photographer, I incorporated a Macintosh computer into my studio practice and was an early adopter of the PhotoShop and Adobe Illustrator software programs. Eventually I transitioned from using film cameras to using digital single lens reflex and mirrorless cameras.
My experience with traditional mediums and the digital environment has made clear to me that art making, designing and photography remain open to the full range of tools, methods and technology, whether old school or new, in any combination, analog or digital.
Recently I have been using my iPad, Apple Pencil and the applications Procreate and Sketchbook by Auto Desk, to develop sketches for paintings I may later do with real paint on canvas and as finished art files to be used online or printed.
Cosmic Eggs, shown above, is one example. This image also incorporates one of my photographs.