New site............

[Asher Kelman]

Well Pat,

I do find this both unusual and interesting. It's like you have a can of nostalgia you spray over abanded things of our past!

Asher

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Paul Abbott]

With respect, your images are not very interesting to me. First and foremost, the subject material is dull in nature and your framing and composition of these subjects leave a little to be desired. If you are to document your subjects in an artistic way then I would think you need to find better suitable and relative subject material and be more discerning in your approach.
Your images just come across as poor subject material with a light shone over or inside them. Also, there is a question mark over the content in the scenes...They do not convey what you are trying to do in the same way as this Troy Paiva's images.

If anything, I would have thought that the majority of what is 'abandoned' in america is better photographed otherwise. Highlighting the social decay and ills that have arisen in towns and cities across america. Who knows, it might just be for the common good...

I know this is on a larger scale and might not be what you are looking for but, just look at East Cleveland in Ohio, for instance! This is a city that is slowly but surely disintegrating and becoming overgrown, (in fact, it almost has), with deer and other woodland creatures roaming about. Your images show nothing compared to what is going on there...and this place makes a mockery of your subject material.

Anyway, what is happening to East Cleveland shocks me and gives me food for thought about how this could ever have happened. If anything, your images have only reminded me and created a greater awareness as to what is happening in your country, so that's a good thing, I feel.

Best regards...

 

[Asher Kelman]

Paul,

I think one can agree that Troy Paiva has better framing and a tighter mature approach. Also there are simpler ways of using the camera to highlight the end of the life cycle of human endeavors.

Still, Pat's attempts and toil here to follow another photographer's body of work, itself represents part of the spectrum of modern camera use, illustrating one extreme. It demonstrates how hard it can be to produce a tight, focuses oevre that rises above others tone effective and iconic of that particular photographer's view and vision.

To me, Pat's enthusiasm and dogged work is admirable for it's own inherent worth as an example of one level of human struggle. We so often look at the journey of those who rise to the very top. Pat's worth comes from the inherent value for himself in trying to accomplish something that would be fabulous if he succeeds.

We hardly ever look at this end of the work spectrum.

Naivty is also revealing.

In the total orchestra of expression with a lens, Pat's efforts tell us something about a personal struggle and how hard it can be to climb!

Asher

 

[Doug Kerr]

Hi, Paul,

I know this is on a larger scale and might not be what you are looking for but, just look at East Cleveland in Ohio, for instance! This is a city that is slowly but surely disintegrating and becoming overgrown, (in fact, it almost has), with deer and other woodland creatures roaming about.

I wasn't at all aware of this transmogrification of East Cleveland. I grew up in the Cleveland area (on the West side) but haven't lived there since 1961 and have only rarely visited since.

My late first wife, when she first arrived in the Cleveland area, lived for a few months with relatives in East Cleveland.

How did you become familiar with this situation?

Thanks for this peek into this strange phenomenon.

Best regards,

Doug

 

[Paul Abbott]

Paul,

I think one can agree that Troy Paiva has better framing and a tighter mature approach. Also there are simpler ways of using the camera to highlight the end of the life cycle of human endeavors.

Still, Pat's attempts and toil here to follow another photographer's body of work, itself represents part of the spectrum of modern camera use, illustrating one extreme. It demonstrates how hard it can be to produce a tight, focuses oevre that rises above others tone effective and iconic of that particular photographer's view and vision.

To me, Pat's enthusiasm and dogged work is admirable for it's own inherent worth as an example of one level of human struggle. We so often look at the journey of those who rise to the very top. Pat's worth comes from the inherent value for himself in trying to accomplish something that would be fabulous if he succeeds.

We hardly ever look at this end of the work spectrum.

Naivty is also revealing.

In the total orchestra of expression with a lens, Pat's efforts tell us something about a personal struggle and how hard it can be to climb!

Asher

Yeah, I get what your saying, Asher. I hope Pat can give us a few more insights into his approach, knowledge and how he finds his subjects.

 

[Paul Abbott]

Hi, Paul,



I wasn't at all aware of this transmogrification of East Cleveland. I grew up in the Cleveland area (on the West side) but haven't lived there since 1961 and have only rarely visited since.

My late first wife, when she first arrived in the Cleveland area, lived for a few months with relatives in East Cleveland.

How did you become familiar with this situation?

Thanks for this peek into this strange phenomenon.

Best regards,

Doug

Hey Doug, I found out about it through a documentary on TV here in the UK some time ago. It also documented Louisiana and how parts of it have never been rebuilt since the hurricane, 10 yrs down the line.
Also, i'm interested in the US and it's topography and the layout of it's landscape, through old and new photographs. I love those photographs that documented the up and coming social landscape of the fifties and sixties, and all what occurred through it's growth.

 

[Asher Kelman]

Here, the red does have relevance to stones that now become "coals" and starts to work for me. The concept is good and I see energy nascent in these developing ideas.

Asher

 

[Pat Dwyer]

Lit up.

AS THINGS DECAY AND FALL APART THEY OFFER A GLIMPSE INTO THE PAST SOMETIMES GOING BACK DECADES........SUCH OFFERS A EXCELLENT REVIEW OF THE PAST, BUT TO REALLY ADD SOME CHARISMA TO THE PICTURE IT IS GOOD TO LIGHT IT UP.............SOON THERE WILL BE NOTHING LEFT............ Pat

btw------------ different pictures draw different levels of interest from viewers...........

 

[Pat Dwyer]

CHECK UT THIS OLD WOODEN FLOOR, IT GOES BACK DECADES.....PERHAPS HALF A CENTURY OR MORE........

 

[Asher Kelman]

Pat,

Are you reading my messages? I have sent you several with pointers and have received be comments back from you in return.perhaps you did not notice them. Look in the top right hand corner of this page!

Asher

 

[Pat Dwyer]

old office.

Long since abandoned this old school office is lit up before a well deserved tear down..........

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Asher Kelman]

Pat,

I am a careful follower of your work and am impressed by your steadfast efforts. Still, I need to make a case for you not relying any more on what the cameras internal "photoshop" does for your pictures. The files, no doubt are very good. But without your fingerprints on the preparation of an actual image, to me at least I cannot see how your kind of work can be completed by the auto settings some Japanese technicians set as defaults in your camera!

This current picture is a clear example of where relying on the decisions of the little men in your camera could be holding back the full potential drama of your photograph. If, however, this is ideal, then, I just think you are an oddly lucky guy, as no one I know of has ideas that always match the automatic decisions and calculations of the cameras artificial image creation from electrical charges on the sensor.

My general recommendation is that without a competency in post processing, the photograph is at risk of being half baked. Your own experience may be different of course, but I would wager that your work could be improved by realizing the full potential of the digital image, which can only be done by an appreciation of white and black points, gradients of contrast and ability to rank elements in your composition. Not that you always need each of these adjustments, but frankly, your images, to me at least, are rather flat and, as yet, do not have a breathing force of "life" and air in their nostrils.

There is nothing real about any photograph. So do not worry about cheating or being unreal, as that's what digital photography is any way!

Asher

 

[Paul Abbott]

Pat,

I am a careful follower of your work and am impressed by your steadfast efforts. Still, I need to make a case for you not relying any more on what the cameras internal "photoshop" does for your pictures. The files, no doubt are very good. But without your fingerprints on the preparation of an actual image, to me at least I cannot see how your kind of work can be completed by the auto settings some Japanese technicians set as defaults in your camera!

This current picture is a clear example of where relying on the decisions of the little men in your camera could be holding back the full potential drama of your photograph. If, however, this is ideal, then, I just think you are an oddly lucky guy, as no one I know of has ideas that always match the automatic decisions and calculations of the cameras artificial image creation from electrical charges on the sensor.

My general recommendation is that without a competency in post processing, the photograph is at risk of being half baked. Your own experience may be different of course, but I would wager that your work could be improved by realizing the full potential of the digital image, which can only be done by an appreciation of white and black points, gradients of contrast and ability to rank elements in your composition. Not that you always need each of these adjustments, but frankly, your images, to me at least, are rather flat and, as yet, do not have a breathing force of "life" and air in their nostrils.

There is nothing real about any photograph. So do not worry about cheating or being unreal, as that's what digital photography is any way!

Asher

I couldn't agree more and second it, wholeheartedy.

 

[Pat Dwyer]

I am unsure if I understand your writings or analogies....... I really just light up relics to bring long lost america back to life for a final review............Do either of you want to buy my book, I have several for sale........go to ebay and and type, Abandoned America by Pat Dwyer......or i can sell you one via regular mail. 41 pictures in the book plus instruction on how to do the process..................

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Asher Kelman]

I am unsure if I understand your writings or analogies....... I really just light up relics to bring long lost america back to life for a final review............Do either of you want to buy my book, I have several for sale........go to ebay and and type, Abandoned America by Pat Dwyer......or i can sell you one via regular mail. 41 pictures in the book plus instruction on how to do the process..................

Hi Pat,

We write to encourage you. I admire your enthusiasm and the energy to publish books. Good luck to you on the sales.

I will write to you privately to further clarify my feedback.

Asher

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Pat Dwyer]

 

[Don Ferguson Jr.]

Perhaps it's possible you take photographs in a different style. Family shots, a bit of travel or trivia, some soft porn, a newer building lit differently.

Xxx

Tom, I bet you would have liked a photo of an old brothel. Lol
Don