Archive for art

Photographer of the Month – Denis Smith

Posted in Art of Photography, Inspirations, Photographer of the Month, Techniques with tags , , , , , on May 17, 2011 by sabrina

© Denis Smith

Darwin: Denis, your Ball of Light movie is incredibly inspiring. Many people feel anxious and trapped by the the pressures of society. And for many of us photography and especially nature photography is one of the ways we connect with our spiritual sides. But you chose light-painting and night photography – why? What is it about this particular genre of photography that appeals to you most?

Denis: When I first picked up a camera a couple of years ago I found myself on an incredibly steep learning curve having no formal training at all. I discovered light painting early on and found it stretched me, forcing me to think way outside the square. This was a time in my life when the time alone, exploring at night gave me space to work on myself. The amount of time I spend waiting for the light, the moon, or for the shutter to close is spent relaxing and learning more about myself. I certainly have become a more spiritual person. In the dark, looking up, you learn very quickly how massive everything is, and how small we are.

Light painting is a form of photography that has massive creative scope. But I think the real appeal to light painting was the ability to stretch myself constantly, and it is a pretty niche space too.

Darwin: Your movie documents well how the ball of light came to be and how it is an outgrowth of your inner world. Do you think that symbolically the subjects we photograph, and the types of compositions we make are really just external expressions of our needs, wants and turmoils in life? If so what does the ball of light symbolize for you?

Denis: The Ball of Light has become an extension of my emotions. In so many ways it represents the freedom I now have in my life. The amazing array of locations I visit to shoot the Ball of Light have opened my eyes to the wonderful world we live in. My photography grew from a basic desire to be alone to work on myself as a human. I felt like I just wanted to walk, explore and experience the freedom that offers. The freedom was addictive, I quickly was looking for more extreme and distant places to be. Bringing the Ball of Light into the mix took it to another level. The images I enjoy the most are the open spaces where the Ball of Light seems free to just be!

My wife often remarks how the Ball of Light reflects how I am at the time. If I am in a relaxed mood and feeling chilled, the outcome reflects this. If I am a bit wound up, or feeling a bit crazy we end up with some weird locations surrounded by chaos!

Darwin: What about the practical aspects of the commerce of art? You now sell limited edition prints of your work. Is this endeavour enjoyable to you, or does it drag you away from the creative aspects of your work?

Denis: Selling limited edition prints just seemed a natural progression for me. There was no structured plan to make the Ball of Light a commercial project. I was asked to do a couple of local markets so I prepared some small prints, A3, for this. The reaction form the public was really amazing. I became addicted to watching peoples faces as they realised what they were looking at was real, and not some photoshopped mish mash. Explaining the process of creating the Ball of Light became an automatic part of interaction with people. The quicker people understood the process of creating the Ball of Light they could immediately enjoy the piece.

I made the conscious decision to try and make the Ball of Light available as easily as possible, and priced everything accordingly. So doing the large format prints was easy. I thoroughly enjoy seeing my work large. I now realize that I have not really seen an image until it is printed in large format. On the computer you simply do not see the colours or richness. I sit and stare at them myself, for ages! I now take large format prints to shows with me, and they create a real stir. I just did a 3 day show here in Adelaide and the thrill I get watching people enjoy the work is only amplified having the large prints there.

Managing this side of the business certainly does not detract from the creative side. But I now think a bit more about the shot with printing and size in mind. This has benefited the work considerably though. I think more about composition. I have “learned” more about photography since selling work and am just really excited about people sharing the work. Experiencing and feeling it.

Darwin: You and your work have become ‘famous’. Does this fame and attention risk putting you in the same position that you were in before or does the ‘success’ open more doors for you to do more of what you love?

Denis: Famous? That sounds really strange, but sits pretty easily with me. What I am realising is that in the Ball of Light film we have created a short film that has inspired people to look at themselves and what they are doing. I hope it has inspired others to realise that internal happiness is so much more important than external things. I get constant feedback that my photography has inspired others to stretch themselves creatively and try something outside their comfort zone. If these two things results in some type of “fame” then so be it.

I will never return to the place I was in. One of the biggest changes I have made in my life is living within my means financially. We live a humble, and much happier, life now. What this means is that if my photography really takes off I will simply be able to do more of what I have grown to love. Travel, learn, experiment and share. Any “success” my photography has will not be wasted on the frivolous and excessive things I did on the past.

I still dream of packing a bag and heading to locations outside of Australia.

Darwin: Because your work is fairly well-defined by a unique technique, does it worry you that others will simply learn your technique and replicate your ideas and soon flood the world with clones of the ‘ball of light’?

Denis: Since the Ball of Light project really took off, and especially since the release of the film there has been a massive influx of “orbs” on Flickr. I am also inundated with questions of  “the how do you do it” type. In the beginning I was quite protective of the process. I am still a little cagey about the “rig” I use as this is the result of long nights at the end of a soldering iron. But I have really embraced the influx of people having a crack at it. I think it is wonderful that others are making the effort to stretch themselves with the camera. It is interesting though how many people have come back to me after realising how difficult it is to create the “bigger picture” with all of the elements in one shot. A tight orb combined with a killer location and good exposure control takes a bit of practice.

I often think to myself, if I have encouraged one teenager to get of the couch, turn off the playstation and get outside into the air and run around exploring like a fool there is nothing more exciting than that. There are some pretty amazing results coming from some corners of the globe. One of the nice things about the Light Painting community is there is plenty of sharing and recognition. I had a young guy and his mate come and see me at the show I did this weekend. They were so excited showing me an Orb they had created. These guys would have been about 18, and they had their girlfriends out with them, and in the photos. It felt amazing that I might have encouraged them to do this.

From a commercial point of view I do keep an eye on people using the term Ball of Light, but this doesnt come up very often. I also think to myself, Peter Lik makes millions of dollars a year taking photos of trees and water. What make his images special? He just makes water and trees look incredible. I have many projects, and ideas on the boil but The Ball of Light will always be a project close to my heart. And I really want to take it further with more amazing locations.

You can find Denis on the web here and see more of his images on Flickr.

© Denis Smith

© Denis Smith

© Denis Smith

© Denis Smith

© Denis Smith

© Denis Smith

© Denis Smith

The Holga Hustle – May 7 at Lake Louise

Posted in Art of Photography, Good News, Instruction, Photography Gear, Prints, Techniques, Workshops and Seminars with tags , , , , , , , , , , , , , , , , on May 5, 2011 by Darwin

Just a reminder that we only have a few spots left for our Holga Hustle on May 7 in Lake Louise. If you’ve been following our Fabulous Film Fridays project, you’ll know that Samantha and I have been having a lot of fun playing around with our Holga cameras, Beep and Bop.  So much so that we want to share the fun and invite YOU and your Holga (or other film camera) to come along with us on May 7th to the free Holga Hustle and Print Show.

We’ll be in Lake Louise in Banff National Park with Beep and Bop, just walking around and taking pictures of whatever catches our fancy.  There are lots of paths along the river and of course visitors coming to enjoy the wonderful scenery of the Canadian Rockies, so there will be plenty to shoot. Anyone can come, just bring a film camera of any kind and you’re in! And if you do not have a film camera we’ll supply you with one and even some film! We have lots of film cameras to choose from. And don’t forget you have a chance to win the Holga below which has been donated by Jim Slobodian of the Holga Blog! The results of the Holga Hustle will also be posted here on the LLTL blog and there will be even more prizes offered once the results come in.

Win me!

We’ll be at the Holga Hustle from 2:00pm until 4:30pm on Saturday, May 7th after which we are heading over to nearby Baker Creek Bistro to launch our Print Show!  The Bistro has generously provided space in their restaurant for us to show some of our prints, including some made with our Holgas (BTW, Jim from the Holga Blog made all of our Holga prints for us!).  From 5:00pm until 7:00pm, Sam and I will be at the print show with both Holga prints and a sampling of digital files printed on aluminum from Image Wizards to demonstrate in glowing colour the beauty of the area.  There will be free snacks on hand for munching (yum!), and if you need a glass of wine after the exertion of the afternoon walk, alcoholic drinks will be available for purchase.

While you’re at Baker Creek, why not make a reservation for dinner to enjoy the excellent, locally-sourced food at the Bistro or make a weekend of it by staying at the Baker Creek Chalets.  This is where we host our SNAP! Photography Seminars workshop October 27-30, 2011 so now is your chance to check out this world-class accommodation. The folks at Baker Creek are offering anyone coming for the Holga Hustle a 15% discount on a two-night stay. Just mention our names (Darwin and Samantha) and come hang out in the Rockies that weekend!

Convinced?  Then come to The Holga Hustle and Print Show at the Bistro to see what you can do with a Holga image.  Space is limited to only 20 people! If you would like to attend the Hustle and Print Show, please email us to reserve your spot.

Inspirations – Kristi Foster

Posted in Inspirations with tags , , on May 4, 2011 by sabrina

© Kristi Foster

Canon 5D Mark II, with a lensbaby composer, shot at ISO 3200, f/4 60sec

It has become almost cliche for a photographer to say they enjoy making images of people, however, the human form is my inspiration. You might be asking what do people have to do with this image and I asked myself the same thing. My inspiration comes from an attempt to identify the parallels of the human form inside and around inanimate objects. In writing its called personification. In photography, I think it can be the same thing. I used a Canon 5d Mark ii, a lens baby composer with a double glass and 4x macro filter, a table, two forks and a kleenex. That’s right…a kleenex. I have found that nothing is too small that it should be overlooked in making a great image. ~ Kristi Foster

Inspirations – Chris Friel

Posted in Inspirations with tags , , , , on April 6, 2011 by sabrina

© Chris Friel

canon 5dmk2 with 24-70 lens 1/5 second at f11 handheld

taken on the island of sheppey in january this year
small island in the middle of the thames
one hour from london
the east end of the island is virtually deserted
apart from a few cabins on the beach
this is one of them

i liked the grasses blowing around
and the dark building
1/5 second exposure to blur the grass
hand held as i don’t normally carry a tripod

minimal editing

~ Chris Friel

Inspirations – Maureen Murphy

Posted in Inspirations with tags , , , , , on April 3, 2011 by sabrina

© Maureen Murphy

The topic chosen by my photography group Dante Was Here for a show was “New Realities ” and my new reality was a fear of getting Alzheimer’s. Here is the artist statement:

The subject “New Realities” has a very significant meaning for me.  My reality involves the aging process and how my parents’ history will affect my life.  My mother died of Alzheimer’s and my father (93) has dementia.  My course seems to be pre-ordained – or is it?  These photographs explore the parallels between me and my parents and how they relate to my fears for the future. What can I do to postpone or avoid dementia?  How can I live with the probability that I will experience a loss of my cognitive functioning?  These are questions underlying my everyday life as I move towards my mid sixties – the age my mother was first officially diagnosed. The intention was to display part of my parents’ history and the stage my father was experiencing at the time – living with memories.  The words are a mix of possible thoughts he was thinking and questions I had. Once I wrote the words, I did not edit them.

I took the photo of my father in front of a window camera (D300 1/200 @ 4.8 55mm ISO 1000). I scanned a photo of my mother in her wedding dress and in Photoshop,  combined the two photographs. Then I wrote the text in MSWord and pasted it in as a layer. ~ Maureen Murphy

February and March Tour Results – Alan Ernst

Posted in Art of Photography, Articles about Photography, Artistic Development, Inspirations, Instruction, Techniques, Workshops and Seminars with tags , , , , , , , , , , , , , , , on March 24, 2011 by Darwin

As always, Alan Ernst, owner of the Aurum Lodge and co-leader on the winter tours has shown his skill at seeing fine images in scenes most of us would pass by. This time Alan gave himself a themed assignment and that self-assignment led to great images. Check out his images and learn about the art of photography from his descriptions below each photo.

©Alan Ernst

Mt Outram and snag – Lumix GH1, 14-45mm lens, F8 at 1/125, – 1/3 EV, Polariser, HDR

When going on a photo outing or even for a week, month or year, try to set yourself a subject “goal”. Having accompanied many winter tours in the past few years, I have lots of images of ice, frozen waterfalls, winter landscapes, etc.. This year I decided to concentrate on Winter Wood i.e. anything tree. Needless to say, I will still point my camera at everything else that looks promising. However, shooting a theme is fun and hones your visual skills, as you will be looking for stuff much more focused. Themes can be specific subjects, patterns, texture, numbers, letters, colours, etc., etc.


©Alan Ernst

Big Bend dead tree – Lumix G1, 100-300mm lens, F8 at 1/1000, +1 1/3 EV

I had photographed this impressive snag on half a dozen occasions before, usually trying to isolate it completely from its surroundings, which tend to be cluttered with little trees sticking out of the snow all over the place. This year, with ample snow cover in the mountains, much of the clutter was blanketed in snow and I decided to go for a landscape extraction instead. Revisiting locations is important as conditions are always different and the more often you go, the more your eye will pick up all the amazing details.


©Alan Ernst

Cold Burn – Lumix GH1, 7-14mm lens, f10 at 1/200, +1 EV

The remnants of a prescribed burn two years ago make for great images along the North Saskatchewan River valley, from charred bark to the relics of an entire forest. The group was photographing from the road as the snow was deep and cumbersome to get through. There were great repetitive patterns there but somehow, it felt like looking from the outside in, rather than being part of it – I decided to romp through the snow bank and immerse myself in the trees, which paid off as I got some pleasing shots in there. When shooting a location, always wander around and look for angles, viewpoints, subject detail other than what caught your eye initially.


©Alan Ernst

Lychen Lord – Lumix GH1, 14-45mm lens, f10 at 1/100, + 1 2/3 EV

Returning from a short walk to a frozen waterfall, I was waiting for one of our participants to catch up. Whereas some people get bored once they’re “done” and stop looking as they’re keen to move on, I always use “down time” to scan my surroundings, looking for details, patterns, flora, wildlife, etc.. Very often it is in these situations, that I find interesting subjects, which most of us including myself would simply walk past or over in their quest of capturing a particular thing or place. This broken spruce twig had fallen on the snow covered creek upside down and reminded me immediately of the living trees in Lord of the Rings.


©Alan Ernst

Shadow Blue – Lumix GH1, 7-14mm lens, f8 at 1/500, +1 EV

Shadows in general and tree shadows in particular make for great subjects, with or without the object that creates them. In this location, where most participants were working on the grand landscape, I was immediately drawn to the interesting patterns, lines and contrast of the tree shadows along the river shore, the trees in themselves being nothing special at all. The location and angle of the sun were tough though and it was impossible to use the shadow as a leading line towards some interesting feature. Thus, I focused on trying to balance the one big tree shadow with the multiple shadows of smaller trees and sandwich them between the shoreline and Mt. William Booth in the back.

©Alan Ernst

Power of the sun – Lumix GH1, 14-45mm lens, f22 at 1/250, + 2/3 EV, ND grad

The Columbia Icefields / Athabasca Glacier area never disappoints, very much so because of the atmospheric conditions which are often different from surrounding areas.

The light during our mid day stop was fairly harsh and I decided to work with the sun, rather than against it… The smallest aperture on your lens will generally give you the nice starbursts, when shooting directly into a pointed light source. More or less flare will always ensue, so make sure your lens is squeaky clean as every fleck of dust will increase that flare. Then, try to work flare so it becomes part of the composition. You cannot avoid it, but moving the camera a little bit, can often make the difference between a nasty flare, an interesting flare or minimal flare.


©Alan Ernst

Stump Morning – Lumix GH1, 14-45mm lens, f13 at 1/20, + 1 2/3 EV, Polariser and ND grad

Continuing the winter woods theme from the previous week, I decided to work this field of dead tree stumps along the shore, while the others were frolicking on the ice. The strong side lighting made for an extremely busy foreground with lots of rocks and snow drifts with amazing texture. They made for great abstracts and detail shots, but I could not find a good leading line towards the background that I was looking for. I thus decided to break all the rules and place the big stump smack in the center, so as to provide an anchor of sorts for the many components included in the image.


©Alan Ernst

Millitreed – Lumix G1, 100-300mm lens, f8 at 1/250, + 2/3 EV

The group stopped along the Icefields Parkway to capture the Spires of Mt Wilson drifting in and out of the clouds. I decided to look for landscape extractions on the slope of the mountain since the light wasn’t that good and I was drawn to the contrast between dark treed ledges everywhere along the mountain side. Most are horizontal bands of trees, but I liked this one best as it made for an interesting diagonal, flanked by two additional lines, which all seem to radiate from one corner.

One of the things I like about the Lumix cameras are the variable aspect ratios, which can be changed on the fly. The 16:9 format is my favourite, but I tend to switch all the time, depending on subject and composition. A lot of photographers seem to stick to the 3:2 or 4:3 formats provided by their camera sensors without putting too much thought into cropping at the point of capture. It is important though to think ahead and decide on the spot, if the image will look better cropped. Very often, this means you will have to change the angle a bit or include / exclude features that might interfere when cropping later. I find that I can often get two or three images of the same subject, which are very different, simply by changing the aspect ratio right then and there.


©Alan Ernst

One of Three – Lumix G1, 100-300mm lens, f9 at 1/800, + 1 1/3 EV

Returning from Jasper along the Icefields Parkway, a stand of trees along the side of the road caught my eye because of the straight tree trunks and the angled shadows, which created a repetitive pattern. Check rear view mirror, stop, reverse and see what we can make of it. There were lots of young trees in front of the embankment as well as little trees and shrubs within the trees so it was hard to “extract” what I wanted. Pacing back and forth and zooming in with a long lens eventually got me a few images free of distractions with minimal subject matter but a pleasing effect. Working a subject, it is important to decide on what is important / makes it interesting and then either putting that into context with its surroundings OR extracting it for a strong graphic effect. You will need minimal gear for this: two eyes, two legs, a tele zoom and a brain, which can co-ordinate it all….


©Alan Ernst

Hang in there – Lumix G1, 100-300mm lens, f 9 at 1/800, +1 EV

Waiting by the car for the rest of the group to tackle the snow humps at Medicine Lake I was scanning the slopes of the Colin Range, which usually makes a great backdrop at sunset. In this case however, it was mid day and relatively flat front lighting, so the big picture was out. Small groups of trees clinging to life at tree line were interesting as they provided a strong contrast to an otherwise medium toned puzzle of rock slabs and snow.

For images like this, it is critical to use your tripod even when you have more than enough shutter speed to work without. Concentrating on your key subject (small stand of trees) and then zooming in and out, panning up and down, left and right, until you find a pleasing composition takes time and, especially when working with a long lens, you will never get the composition where you want it to be. Live view is a great help as what you see is what you get. In this case, there were distracting dark areas or lines, more trees, rock formations which would have been very distracting if included. It probably took all of ten minutes to get a composition which excluded it all and which I liked. The rule of thirds was dumped along the way.


©Alan Ernst

Dead Pine – Lumix G1, 100-300mm lens, f 11 at 1/250, + 1 1/3 EV

And more dead trees… A single dead tree surrounded by living specimens will always stick out and once it attracts attention, there is likely something to photograph. This one caught my eye as I was looking for the sun to see if we would get some clouds for another scene I had in mind. The cloud wasn’t forthcoming but the strong graphic component, extreme contrast and almost monochrome aspect of the scene, made me go for the long tele lens again and pace back and forth until I had it lined up with the mountain behind it. I then played with the aperture to find a setting, which provided enough detail in the background to make it identifiable, but not so much where it would compete with the silhouette in front.


©Alan Ernst

Shadow Dancers – Lumix G1, 100-300mm lens, f9 at 1/1000, + 1 EV

Half the group was waiting for the other half at an outhouse stop near the Crossing. When they did not show up, we decided to backtrack to the N. Saskatchewan River Bridge, where I had noticed potential for a high contrast river scene with a hazy mountain backdrop. The big scene worked, but as I scanned the riverbank for detail, the picture perfect S-curve of a snowdrift caught my attention. Back to the vehicle for the long lens and then try to find an arrangement that worked. Normally, this would call for a vertical orientation, but alas there were too many distractions of trees, rocks, and dirty snow both above and below the scene. I took the scene with 4:3, 3:2 and 16:9 aspect ratio and interestingly, the least likely format (i.e. the furthest from the vertical), worked the best.


Inspirations – Michael Gordon

Posted in Inspirations with tags , , , , , , on March 6, 2011 by sabrina

© Michael Gordon

Chamonix 4X5″ view camera; 200mm lens; Ilford Delta 100

 I found this small section of dune – approximately 20′ wide by 15′ deep – shortly after sunrise on Death Valley NP’s Eureka Dunes on a frigid January morning this year. Much of the dunes were frosted or frozen, so the walking was easy to this exposed ridgetop site. Arising well before the sun to make the 2+ mile walk to this location, I caught this backlit ‘decisive moment’ and wasted no time setting up the camera. By the time I was done and packing – a short 10 minutes or so later – the sun had transited far enough so as to render this composition nearly impossible to see. ~Michael Gordon 

Inspirations – Marc Koegel

Posted in Art of Photography, Artistic Development, Inspirations with tags , , , , , , , , , on March 2, 2011 by sabrina

© Marc Koegel


Canon 5d Mark II 338 seconds at f/5.6 at 100 ISO with 16-35mm Ff/2.8 L @ 17mm

I shot this image as part of my Canada Prairies Series in September of 2010. This series of black and white photographs is geared to document the vanishing farm architecture of the region, focusing on old wooden grain elevators, farming equipment etc…Many of these structures are being taken down and demolished every day, and with them, a part of Canadian history is vanishing.

I have been photographing for this still evolving series for the past 2 years. Esthetically, I choose to work with wide-angle lenses, often with tilt and shift capabilities. Most of my images, including the one pictured, are assembled from multiple photographs merged into one large panorama. Using these techniques, I can achieve a perspective otherwise non-obtainable. It was important for me to show large sky areas, as these regions are often called the ‘lands of the living sky’. Furthermore, I utilize very long exposure techniques, which results in the dramatic cloud formations. Images are taken with exposure time of 5 to 30 minutes and longer, using very strong ND filtration. The long exposure technique captures the clouds in motion, but the structures remain still. Each image represents a fraction of time and thus history of each structure I capture. I hope it will do its part to conserve the all important memory of this region.

Images are captured in RAW and converted to black and white in Adobe Photoshop CS5. ~Marc Koegel

Inspirations – I think, I’m a Dreamer by Ben Goossens

Posted in Art of Photography, Inspirations, Techniques with tags , , , on February 23, 2011 by sabrina

© Ben Goossens

To make this kind of image, you have to have 40 years of crazy experience. All my life I created my own landscapes or adapted them for the concept I had in mind. In fact I seldom leave home without a camera and when I see an interesting object or subject, I shoot and I’m already thinking about what I can or will do with it.

I rarely use or present a one shot image. I will always bring my “personal touch”….it’s a professional disease…lucky it doesn’t hurt too much. What I make now is a logic follow-up from what I did as an Art Director in advertising where surrealism was a source of inspiration for the national and international visual concepts. One object or subject can give me inspiration to add something else to create my personal image, in which I always try to tell MY story. Many call me the R. Magritte or Dali of photography–those “crazy surreal” images are already edited worldwide. Some hate them; others like them very much, so?

All images used are from my personal stock which is a culmination of 40 years of work—a full 1 TB hard drive. For this image the man was shot on the street. Once I had extracted him, I wanted to make him different and surreal. So I got rid of his face and did some airbrush technique to restore the collar and of course I needed it to be on a nature background. As I had no fitting background, I started with a grass shot and added two (2) fitting sky shots all from my stock. One of the sky images were added in overlay to create more movement and I also did a lot of color adjustment with PhotoShop. For the composition and depth, I added the birds and tree and created a shadow under the tree, making sure the birds started from his eyes. Once all in place and color adjusted, I added a texture layer, on blending mode soft light, to give it a painterly feeling. On a new layer, I painted with the airbrush tool, some soft colors and reduced the layer opacity till satisfied.

This image is my “avatar image” because that’s how feel and how I had to be in my profession as an Art Director. ~Ben Goossens

Inspirations – Bounce by Ursula Abresch

Posted in Inspirations, Techniques with tags , , on February 20, 2011 by sabrina

© Ursula Abresch

Nikon D200 Sigma 150mm 1/6 sec @ f/3.5

“Bounce” was made as a study in lines, shapes and colours.  I photographed a set of paper strips in different colours, stappled and taped together at one end, fanned at the other, curved and placed in front of a computer screen.  I used a piece of white cardboard to throw light onto the front edges of the paper.  The screen provided background glow and light shining through the paper strips.  The room has two windows that provided natural light.

With the settings I used (almost fully open lens, very close to the subject), I had a very narrow field of sharpness to work with.  I aligned the camera/lens paralell to the plane of the paper strips, and made sure that the paper edges would be sharp while everything else would be thrown out of focus.  The difficult thing was to find a composition with this “flat” alignment that would, at the same time, create the illusion of the papers “coming at you” from the corner.  The curve of the papers was very important:  the papers are placed upside-down from the final image, that way I could use tape (not visible in the photo) to keep the papers in place.  The colour arrangement, from blue to warm and back to blue, helped to create the illusion.  I made sure the taped together point was in the corner.  The composition, the setup, everything was quite deliberate.  Most of my studio work is quite deliberate. ~Ursula Abresch