Ron - The Imminent Demolition of Carmel's Grain Elevator

 

Contrail, Power Line and AbandonedGrain Elevator, Carmel, IN

(Click to enlarge photographs.)

"Thus we have the American grain elevators and factories, the magnificent FIRST-FRUITS of the new age." - Le Corbusier, Towards a New Architecture, 1927.

A photograph of Carmel's landmark historical grain elevator structure is one of the two anchor images of my project, Truth From Perceptions.  Currently it is in the 2 Photographers Works In Progress Exhibition at Midland Arts and Antiques Market in downtown Indianapolis.

I had also written about the area in a post from this blog dated August 9, 2011.  These photographs were included in that post:

This is a portion of what I wrote about this area:  It was a gorgeous winter day and it was like the sky was playing its own concerto.  The interaction of the natural clouds with the contrails was quite something.  The area where these photographs were made is one that stills reveals Carmel's history as a small town whose livelihood likely revolved around this grain elevator adjacent to the railroad tracks - maybe that is why I'm drawn here so often.

Imagine my surprise when I read on Twitter this past Saturday that it is a done deal that the City of Carmel is going to demolish the grain elevator.  Apparently, technically, it is the Carmel Redevelopment Commission (CRC) that is going to do the deed. According to City documents the CRC requested the Board of Public Works, which consists of the Mayor and two appointees, to write a resolution to demolish the structure.  Apparently that three person Board of Public Works has the power to act on the behalf of the CRC and indeed they did.

From what I've been told from a very reliable source the CRC can do whatever it wants to in this area by virtue of zoning law.  The CRC is an appointed government entity that does not answer to Carmel's City Council and therefore the citizens of Carmel.  And today I found out that they actually are able to encumber the City of Carmel with debt without getting approval from the City Council, ie the Citizens of Carmel.  That was a shocker.

Apparently the Mayor and the CRC have a plan to build an additional water tower straddling the Monon Trail that has fountains or some such thing and rather than consider integrating the grain elevator into the plan they are going to demolish it, again, with no public input.  There are instances where these structures have been reused in various ways.  Being a part of the Arts and Design District I would hope that rather than tear down one of the last historical structures connecting Carmel to its past that the CRC would come up with a more creative solution.  Maybe even ask the public and artists and architects for some ideas.  But recent history shows that Carmel's government likes shiny new things.  Problem is that, not much later, those shiny new things become dull older things that seemed like a good idea at the time.

It was extremely disappointing to see in an Indianapolis Star article Carmel Clay Historical Society's (CCHS) board member Fred Swift easily dismiss this structure as having no historical significance.  Yet in the next breath he makes the case for the structure when he acknowledges that the structure has been a part of Carmel's landscape for ninety years and was one of Carmel's largest employers before Carmel was a "big suburb."

Apparently now that Carmel is a suburb we no longer have any use for our agricultural past.  I expect more than this from an organization that is supposed to be protecting our history outside of local politics.

I find it ironic that the CCHS is housed in, what I'm certain Mr. Swift considers historically significant structures, railroad depot buildings that were repurposed to suit CCHS' needs and are in the shadow of the grain elevator.

Even more ironic is this news story from Current in Carmel; the first two paragraphs are here:

The City Council Monday night approved an ordinance authorizing historic preservation and the creation of a historic preservation commission. 

The ordinance, which passed with a 6-1 vote, was proposed to “provide a means to promote the cultural, economic, and general welfare of the public through the preservation and protection of structures and areas of historic and cultural interest within the City” and to “maintain established neighborhoods in danger of having their distinctiveness destroyed,” among other stated purposes.

Zack Myers of Fox 59 news interviewed me for their story on the demolition of the grain elevator.

I encourage you to read an article about all of this written by Jonathon Haag that can be found on his blog, Innovate Carmel.

Here is a recent letter to the editor of the Indianapolis Star by Jane Oakes:

Maybe we can progress without
tearing down grain elevator

6:41 PM, Jan. 05, 2012

I hadn’t thought about the Carmel Grain Elevator in years, but all of a sudden the story on Wednesday, Jan. 4 (“Eyesore or landmark, elevator’s coming down”) brought back a virtual flood of memories. When I moved to Carmel as a child, there were 771 people living there, as attested by a sign at the south edge of town.

At the Carmel school, all in one brick building at the east end of Main Street, I was in the same class with both Fosters and Kendalls, the families that owned the grain elevator. The Monon Railroad was a large part of the community from the proximity to the grain company to the hook by the large door that snagged mailbags each day. Putting a penny on the tracks was an exciting pastime; I’ll bet if I looked carefully enough I might still have a very thin, flat, smashed penny. Progress does not always mean removing the past. Sometimes it means honoring it through visible memories.

Jane S. Oaks

Indianapolis

A fellow grad from Carmel High 1976 had this to say about the grain elevator:

The Carmel Grain Elevator should be preserved as a historical landmark... Even as the town moves forward, and the landscape through the years has changed, it should always leave reminders of what once was.

Mike Sapp

Also there is a discussion on Carmel City Councilor's Rick Sharp's Facebook page.

Ron - Photograph From Along the National Road

This is one of my favorite photographs that I made as a part of Truth From Perceptions.

The door of the business has handwritten hours for every day of the week. No fancy sign here, not even one telling us what the business is. Obviously the locals know.

 The windows of the building have been bricked in at different times. The contrast of the air conditioner bringing in fresh air and the exhaust fan that jettisons the stale air from a seemingly closed off space adds to the mystery of the business.

 This business, in my mind, is a perfect metaphor for the financial and economic crisis that the small towns and their people are facing.

Ron - Polaroid Work Printed

I am making progress toward the opening of the exhibition.  This afternoon I completed printing the Polaroid work.  Satch and I are quite pleased with the results.

And, for the Truth From Perceptions Project I have edited 110 photographs down to 45 for the exhibition.  Making over 500 negatives over seven months has been a challenge that I have truly relished.  I feel that it is imperative that I make a book that presents the entire scope, at this point in time, of Truth From Perceptions.

Currently I am designing the layout of the exhibit and doing some additional writing as well.

Thank you for continuing to check out our blog.  And I would like to give a special shout out to the people from overseas that have taken the time to look at our work.

Examining a Fuji Negative

Ron - More Photographs and Thoughts

Well, I thought I was done with making photographs before the upcoming exhibition.  But on Wednesday a few things presented themselves and I had to pay attention.  At times when I least expect it, a photograph presents itself.

The fact that I am entering a new chapter in my photography, and as I am in the midst of editing for our upcoming exhibit, my view of photography continues to clarify.  And, what I  experienced this past week validates what I have been thinking and feeling.

When I am photographing I feel and sense the spirit of what I am seeing.  The "design" of the subject or scene (natural or manmade, intentional or incidental) becomes an integral of the final composition.  I examine and present nature's and/or man's mark, the combination of which is often society's response to my subject.  The resulting photograph shows the condition and existence of the subject within a context, literal or metaphorical.  That being said, trying to recreate my feelings and perception through a lens and onto film via this machine, the camera, is incredibly difficult and at times more than frustrating.

As I imply in my artist statement, which I will post directly below Satch's photograph, I photograph within the environment that I know or find myself in - the world in which I live.  I do not find it necessary to travel to a locale to make photographs that present something exotic, unfamiliar or detached from my day to day existence.  Rather I endeavor to delve into my surroundings within the scope of where I live my life.

When I first read Edward Henry Satchwill III's poem "Societal Instincts" I became more acutely aware of what I was trying to say with my photography and the "Truth From Perceptions" concept was born.  (Full disclosure - Edward Henry Satchwill III is my nephew.  His poetry continually provides inspiration, and I thank him for that.)

My future photography will continue to be informed by these ideas.  As I enter a new chapter both photographically and in my life, which will be discussed in detail at a later date, these ideas and concepts will continue to inform and guide my work.

Ron with his Polaroid Camera, Photograph by Satch, 11/23/2011

You can read the poem "Societal Instincts" at this previous post.

My Artist Statement:

I aspire to discover and reveal the spiritual essence and truth of my environment.  For me, photography is a vital element of life; it is esoteric and abstract, yet temporal and existent.

Anything at any time can be subject matter.  Often I make images as a reaction to the environment in which I find myself or to something that I observe by looking beyond the obvious characteristics and form of a subject, either instantly or over a period of time.

11/23/2011

Ron - Work Flow

I get many questions about how I make my photographs so I thought that I'd briefly outline my workflow for the Truth From Perceptions project and my past processes.

In the past, in another photographic life, I developed my film and worked in the wet darkroom.  I did do all of the necessary testing for the Zone System for both T-Max and Tri-X films.  Also, I used Polaroid Type 55 positive/negative film for most of my 4"x5" work.  For printing I used a Selectol Soft and Dektol developer combination and occasionally used Weston's Amidol developer, depending upon the type of work I was doing.  I used two different enlargers, one for medium format and one for large format.  My paper of choice was Oriental Seagull, variable contrast.  I also worked with the "historic process" of Van Dyke Brown printing.

Today I have eschewed the wet darkroom in favor of the digital darkroom, but I still photograph using film.  The reasons for this are very straight forward.  Maintaining a wet darkroom and printing on silver photographic paper is very expensive.  As I do not consistently make prints of any great quantity the cost of having to replenish chemicals became prohibitive.  And the cost of silver paper is not cheap.  Working into a final print involved many sheets of paper that would drive up the cost.

Seeing a fine print made in the wet darkroom still makes my heart race and I do miss making those prints.  But, if this was the only way to make photographs I would no longer be making pictures.

iMac and Scanner

The digital darkroom has enabled me to continue my work and the quality of prints make from a high quality inkjet printer on photographic-like paper rivals, I said rivals, silver prints.

All of that being said, I still photograph using film.  I have the control that I want for making images when using film.  I still use the Zone System when making exposures and I find that film has a latitude, scale and feel that I don't see when I look at digital photographs.



The video below shows the camera and light meter that I am using for Truth From Perceptions.  After making exposures I have a lab, typically Roberts Camera, develop the film.  For the Truth From Perceptions project I am using Kodak BW400CN.  I have found that this film has a nice long scale and a fine grain structure.  At normal development it accurately reflects the metering that was done at the time of exposure.  The film is developed using the C-41 process so film development is quite affordable.

After film processing I scan the film using a flatbed scanner with 24 bit color settings at a resolution that will provide the size of prints that I desire.  I use Adobe Photoshop Elements on an iMac as the digital darkroom.  I adjust brightness and contrast and dodge and burn as required to make the expressive print that reflects what I visualized when I tripped the shutter.  I do slightly adjust the sharpness of the photograph only to ensure that the digital file will accurately print.  And, I fix all of the dust marks.  The one thing from the wet darkroom I do not miss one bit is print spotting.

Printer

My final prints are made using an Epson inkjet printer and are printed out of a RIP.  In an exhibition in January of this year at the Harrison Center for the Arts! in Indianapolis I exhibited 16"x20" prints of my Indiana Small Towns project and many people took for granted that the photographs were silver prints.  They did look great and I was quite pleased with the results.

So, there you have it in a big nutshell, my past processes and an overview of my current workflow.

Ron - Polaroid Work and Truth From Perceptions

Self Portrait

I am exploring making images using Polaroid cameras (a Polaroid 420 and a Spectra 2) with Fuji and Impossible Project instant materials.

In the past, Polaroid Type 55 Pos/Neg 4"x5" was my workhorse film.  That film has been discontinued for quite some time.

I am excited about the possibilities that I am seeing.  With regard to the instant photograph, do I simply have this photograph as the single original or do I scan it and enlarge it through digital printing?  These are a couple of questions that I haven't answered yet.  Making books of these images is another possibility.

So, here are some recent "Polaroid" photographs and a video by Satch.

9-29-2011

9-29-2011

I have completed the first phase of Truth From Perceptions. There are about 135 photographs from which to cull the exhibit. I have made over 500 negatives during the last nine months. Now the editing begins. In some cases I will be presenting differing perspectives and "contact prints" that will show the process by which I came to the final image.


This project has caused my thinking about my photography to be more focused and I foresee big changes coming. Final decisions and discussion about these changes will come after the exhibit.

Ron - The Wall Series

Wall Series, Triptych, Truth From Perceptions (click on all photographs to enlarge)

So, it's a wall.  It's just a wall, right?  Why would anybody bother to photograph a wall?  I'll try to explain.

• Interesting - just after I wrote the sentence above "Self Righteous Wall" by Ryan Bingham began to play on the stereo.  Yes it was a total fluke.  This was the first time that I had listened to that album! •

When I first came upon the wall that is in the series of photographs and in the accompanying video, I visually experienced the the elements and materials that shaped the wall's form and construction as well as the erosion of its face.  The light played across the wall revealing the reflectivity of its surface textures.

View of the wall in context with surrounding buildings

Upon closer observation I began to see the wall's history and evidence of contemporary visitors.

I realized that a building used to exist where I was standing as evidenced by the outline of the old interior staircase on the whitewashed cement wall.  Drilled holes and other imperfections revealed no longer existent structural elements.  Time was taking a toll on the cement wall and the underlying brick structure.  Parts of the cement wall that was littered with random marks, gashes and spalls had fallen away from the brick.

Visitors to the wall had made their mark, or marks, either by simply scratching into or painting the wall leaving evidence of their calling or proclaiming their devotion to another.  Others took the time to etch shapes into the surface using the wall as a sort of an outdoor sketch book.

Metering for the last photograph in the slide show

So, in front of me was this wonderful wall, a facade full of abstractions, history, personal messages, expressive doodles, textures, shapes, forms, shadows and highlights.  At this point it was my mission to discover, conceptualize and visualize the various elements in the wall and present them, and what I felt about them, through my photography.

I have visited the wall several times.  Each time my understanding and view of the wall became more refined.  Seeing more clearly I was able to progressively make better photographs.  Photographing the wall has been a work in progress.  In this post I'm presenting a slide show of what I feel are the best photographs of the wall in the order that they were made.

This series of photographs is closely connected with Alfred Stieglitz' concept of Equivalence which was also practiced by Minor White, Aaron Siskind and Harry Callahan, all photographers whose work I greatly admire.  The subject of Equivalence has been written about extensively so I will not delve too in too deeply with this post.  

Within Minor White's 1963 essay, Equivalence:  The Perennial Trend, there are these two passages:  

"...in practice Equivalency is the ability to use the visual world as the plastic material for the photographer's expressive purposes.

When a photographer presents us with what to him is an Equivalent, he is telling us in effect, "I had a feeling about something and here is my metaphor of that feeling."

These two passages do a good job conveying the concept of the series of wall photographs that are a part of my project "Truth From Perceptions."  Photographs such as these do defy a simple description although I have made an effort in this post to detail the inspiration for making them.

Making the first photograph of the Triptych

Here is a short video of when I recently visited the wall:

Here is the slide show of images from The Wall Series, in the order that they were made:

Click here to go to the Flickr page of "Truth From Perceptions" where you can view the "Wall Series."


(Candid photographs by Satch)

Ron - Ludington, July 14, 2011

This summer Satch and I drove up the Lake Michigan shoreline during the week of July 12, Satch's birthday and our anniversary.  We stopped along the way in search for materials for Satch's art.  We spent a couple of great days in Ludington.  While scouring the town and nearby countryside for rusty and other intersting stuff I began to see that many of the working class neighborhoods were in decline.  A little research revealed that Ludington has an unemployment rate of 12.5% and negative job growth.  Obviously the economy and the shifting sands of business relocation were taking a toll on this beautiful, small Lake Michigan harbor city.

While this particular trip was not about making photographs, I had my cameras along and kept them close by.  After stopping at a neighborhood shop to acquire more Satch materials, what I had been seeing in the non-tourist areas of Ludington came into focus and I needed to make photographs.

Snapshot by Satch

An abandoned corner store stands next to two abandoned houses, one of which has brush growing up all around and even out of the edge of the house's foundation.  On the street by the houses are two streets signs proclaiming that between them only "One Hour Parking"  is allowed and the corner store has two signs in windows that lets passersby know that financing is available for any income or any credit!

I made three photographs, two of which I selected to show.  The one of the two attractive, yet abandoned little houses prominently shows the brush and the two parking signs.  In the photograph of the store I wanted to show a bit of the surrounding environment which makes obvious its prominent corner location in a neighborhood that continues to exist against the odds.  I continue to dwell on and think about the metaphor of the fragile network of wires that connect all of us and supply our power for technology and communication while bypassing this abandoned business.

Ron - 70% of the USA's Economy is Consumer Spending

 

 

A portion of my recent work examines the man-made landscape that our contemporary suburban/consumer society has constructed over the course of the last several generations.  Most of it is spiritually vacuous and is devoid of cultural value and leaves a legacy that is greatly lacking.  The suburban/consumer landscape has been homogenized, sanitized and distilled to the point that it has lost any sense of individuality as it seeks to be completely inoffensive. 

Having lived in the Carmel, Indiana area for the last 49 years I have witnessed, first-hand the evolution of this landscape and the culture that accompanies it.  I endeavor to make the photographs present the viewer with a truthful perspective beyond the perception that is foisted upon us every day by corporate marketeers.

This post features a series of photographs made one evening in early June.  I had been looking at these particular scenes for many months and was waiting for the right time to make the exposures.  Finally one evening I realized that the sky was finally devoid of clouds and the early setting sun was on the verge of almost the exact light that I wanted.

So, Satch and I took off for the shopping area.  After arriving, over the course of an hour-plus I made several exposures and Satch took some snapshots while I worked.  Some of my photographs are presented here as a contact sheet of sorts that shows the frames that I chose to print.  Please take a look at the finished photographs below the contact sheet and later I will talk a little about them.

(click on the contact sheet to enlarge)

Ron - The Journey To The Final Print

I always go back to images time and time again and try to improve them, all the while working my way to the final print.  I endeavor to find the print that reflects what I saw and felt when I was making the image.  Today I felt like revisiting a couple of recent images and see if there were any improvements that could be made in the digital darkroom.  I feel like my efforts have paid off as this is a much more expressive photograph than the previous ones.

Ron - Previous Post Update

I have finished the photograph that I spoke of in my previous post.  I found this abandoned building to be quite beautiful and metaphorical, especially with respect to the issues I wrote about in my last post.

click on the photograph to enlarge

The small handmade metal sign on the right side over the painting, I would imagine, is from the building's last enterprise.  The boarded up window and what looks like a jail window, with broken glass, evokes feelings of capture.  If the residents need to contact the outside world, the mailbox awaits their stamped letter.  The trees and sky on the upper third of the photograph and the parking lot on the lower shows the contrast between man and nature, you know like Joni said, "They paved paradise, and put up a parking lot."

Ron - New Photographs

On my 2 Photogs WIP blog posts I had not planned to jump way ahead to my immediate work, but the best laid plans and all of that...

For the last several days I have been scanning and working on negatives.  I had a burst of creative energy from my recent work that has precluded me from posting here - my apologies.  That being said, here are some thoughts about that work.

Lately, I found myself spending some time in rural Indiana, which has been a source of past photographs, e.g. my Indiana Small Towns Project.

I really had not planned on this being a part of "Truth From Perceptions" but, on a recent trip, I felt the need to make some photographs of what I was seeing.  Harry Borgman, an artist that I greatly admire, told Satch and I that a key to his artistic success was to follow himself; again, I took his advice.

While I have never lived in rural and small town Indiana, over my 53 years I have spent a lot of time there.  Part of my family had a dairy-farm, my Grandfather was an outdoorsman and he and my Grandmother lived in a small town in northern Indiana, Kendallville, where I was born.  When I was young man the downtown was still bustling.  Their next door neighbor owned the local downtown diner, The Sweet Spot, where there were coin-op juke boxes in each booth.  On Saturday after my Grandmother got off of work we used to drive fellow diner customers crazy by playing all of the Elvis and Beatles records that we could.  But I digress...  This really wasn't that long ago.  The economic and social changes that have come to rural and small town Indiana are significant and in many cases devastating.  I suppose it is the same or worse across the country.

I am witnessing what had already started as far back as the mid-1990's.  The erosion is becoming even more evident and it feels like it is coming faster.  In many locales it certainly appears that we are experiencing a depression.  Commerce is trying to make a stand in these areas but in many cases it has given up the ghost.

(Click on the photograph to enlarge)

This photograph of the door with hand-painted hours for whatever business is behind it, shows that no longer are perceptions required - truth has arrived and settled in.  There is no need for a fancy sign; whatever it takes to let the customer know business hours is now adequate.  And, the building, with its bricked up windows continues the theme, no fancy facade here.

Another photograph that I am yet to work on shows a small sign advertising an abandoned venture over a much older large faded sign painted over the entire side of the building.  (I will post this photograph very soon.  Please see update above.)

Things change, that we all know, but these changes are feeling permanent.  World events have precipitated an economic realignment that is yet to be completely appreciated and understood.  But, I do not want to sell the residents of these areas short.  I'm sure that many are doing everything that they can to continue their lives in a productive way and what they can to make their community a better place.

You can check out more photographs from this part of the project on our Facebook page.

Ron - 8-14-2011

Gorgeous day today. Made several photographs. Will be posting more photographs and information on the blog this week - maybe a video too! Visualizing the work today really crystallized what I've been thinking about my work this past seven months. Hopefully today's work will result in more good prints.

Ron - Leicaflex SL and Pentax Spotmeter

Here's a video about the photography equipment that I am using for Truth From Perceptions:

The Beginning of Truth From Perceptions

I've always believed that it is not necessary to travel to exotic locations to make photographs.  Wherever one is located, exploring one's environment and discovering and then seeing what lies beneath the obvious is always possible.  Being more familiar with a place is helpful.  Over time as I learn more about and observe a particular place, my seeing becomes more focused.

At the beginning of the Truth from Perceptions project I went to some places where, over the course of my life, I had been many times before.  Here are some photographs made early on from Carmel, where I have lived for most of the last 49 years.

It was a gorgeous winter day and it was like the sky was playing its own concerto.  The interaction of the natural clouds with the contrails was quite something.  The area where these photographs were made is one that stills reveals Carmel's history as a small town whose livelihood likely revolved around this grain elevator adjacent to the railroad tracks - maybe that is why I'm drawn here so often.

The two photographs that I particularly like are Carmel 4 and 5.

(Click on the photos to enlarge)

Ron - Truth From Perceptions

A portion of my involvement with the 2 Photographers Works In Progress is presenting "Truth From Perceptions" which is a project, or better, an inspiration for recent work.  Below is an essay that was written to describe the genesis of the work.

The project that I am working on that is a part of 2 Photographers Works In Progress started sometime around February of this year.  It's genesis came at me from two directions.

First - one day I read this poem that really knocked me out:

Poem 10
Societal Instincts
Edward Henry Satchwill III

To separate truth from perceptions
Is to remove all its coherency.
Yes, absolute truths do exist in man
But their comprehension is beyond us.
Happiness, envy, love disgust and hate,
All ideals which are never to be matched,
And for this reason, clichés are needed:
"Love is exactly what you think it is.
If you don't know what you think, then you are
Lucky, for you can find love anywhere."
Such are the I.V. drips that keep us here,
Below enlightened, but above insane.
Not reaching full potential, but also
Not falling to our deepest depths of life.
So, in this way, do we oppress ourselves?
Or engage in paternalistic aid?
The fallacy of minds trumping the mind
Seems understood by none but you and I,
The weight of all mankind now upon us.

© 2011 Edward Henry Satchwill III
(reprinted with permission)

The concept of separating truth from perceptions and the poem's examination of the human condition continued to bounce around in my mind.  Many times in today's world truth is ignored and calculated perceptions are melded into one mass marketing scheme; yet in reality we all must end up dealing with truth rather than the perceptions that we are bombarded with every day.  These notions led me back to thinking about and revisiting particular photographers' works that are important to me - Minor White, Alfred Stieglitz (especially his Equivalents), Harry Callahan and Aaron Siskind.

Second - very shortly thereafter I met Matt Lafary and Angi Skaggs in Fountain Square.  After getting to know them it became very apparent that they had a passionate affinity for film photography.  Their knowledge and love of cameras was impressive.  This rekindled a notion that I should take a look back at some of my cameras.

Thanks to Satch, I have used rudimentary plastic cameras (Holga and Diana+) for the last several years.  I had to let go of the science and process of photography and completely embrace seeing and perceiving my environment.  But I felt that the time was right to again explore the possibility of using a more precise camera, for a specific project.

I started to put all of these things together and got the idea to do an ongoing project. Conceptually, the poem would be the inspiration to see and perceive. Off of the shelf, I pulled an old Leica SL2 (35 mm), that had an excellent wide angle lens.  This would be the project's tool.  Using a hand held camera was important.  Wanting to be mobile and photograph at will, I did not want to be saddled with a tripod.  I ran a quick test roll to see if the camera was in working order and realized that I would need better metering.  So out came the spot meter - a light meter that measures the reflectivity of a tiny spot within a scene.  Employing no metering or through the lens focusing since using the plastic cameras, all of this kind of jolted me a little bit.

So, out of all of this the project "Truth From Perceptions" was born.  One of the first photographs that I made came from the wall of Satch's studio.  It seemed like an appropriate starting point.

Untitled