W A T E R
~ P h o t o g r a p h s ~
Puddles Ponds Lakes
Falls Rivers Brooks
Bathers Fog Ice
Snow Death
Part One:
Introduction &
Puddle Photographs
Symmetrical Photograph : Rain Puddle with shadows above and below
The sky above was blue at last.
Introduction~ P h o t o g r a p h s ~
Puddles Ponds Lakes
Falls Rivers Brooks
Bathers Fog Ice
Snow Death
Part One:
Introduction &
Puddle Photographs
WATER Photographs : The Complete Project Titles
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The lake lay blue below the hill.
The lake lay blue below the hill.
O're it, as I looked, there flew
Across the waters, cold and still,
A bird whose wings were palest blue.
The sky above was blue at last.
The sky beneath me, blue in blue.
A moment, ere the bird had passed.
It caught his image as he flew.
Mary Coleridge (1861-1907)
I devoted a year and a half to photographing a Lake; I devoted a year to photographing a River;
for the past ten years I have been photographing two ponds; I have made three major blog projects devoted to the photographs made in a Vermont brook, and many other blog projects have been dominated by photographs of snow; since 1969 I have photographed puddles, bathers, rain, ice, and fog. "Water in its symbolism can bring everything together." Gaston Bachelard
In Mary Coleridge's poem the images of a blue sky, a lake of blue water, and a flying blue bird merge into each other. We have here a poetic image of Unitary Reality, precisely what I hope to achieve in my Water photographs. I call photographic images which unite the invisible inner spirit of water with its visible outer counterparts Symbolic photographs. Such image are radiant with grace, the Creative Power of the Universe, and what is termed Citi Shakti in the yoga tradition that I practice. Water--and all the things of this Created Universe--is an outward form of the Formless, a divine mystery, a sacred substance.
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In early August (2018), after completing my project I Was So Happy To See My Friend's Face, I walked outside after a long needed rain and made two photographs: one of fallen rose peddles, and the other, of a puddle. The puddle image brought forth a flood of memories which ultimately lead me to the decision to create a project devoted to puddle photographs. A few days later I was invited by my son Shaun to go with him and his sister Jessica and my two grand children Claire and River to Niagara Falls State Park for a day's outing. The invitation seemed to me like a sign from the Universe. Then after editing the Falls photographs I had made that day, which resulted in sixteen images (9 straight photographs and 7 symmetrical images) I realized I would have to expand my initial idea--a project about puddle photograph--to a more overarching theme centered around WATER.
As I write these introductory remarks I admit to feeling challenged as to how to organize and proceed with the larger vision of this project. I have a vast amount of visual material and a rich field of ideas associated with this elemental subject to draw upon. Water is at once so familiar to me and so archetypal, so haunted with depths of unknown meaning that can takes one to the origin point, the center of all Created matter. Rilke wrote:
The world is large, but in us
it is deep as the sea.
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Over the past thirty years I've been practicing Siddha Yoga, my practice of making photographs has merged with the yogic spiritual practices. Photographing, meditating, chanting, contemplating the yogic scriptures, contemplating my photographs which function for me as Symbols, all have become united for me as One practice.
Swami Muktananda, founder of the Siddha Yoga Path has stated that the reciting or chanting of the 182 verses of the Guru Gita, the Song of the Guru, is a form of bathing in the most holy of waters. Just as the revealed yogic scriptures (which comprise the verses of the Guru Gita) is pervaded by the formless grace of the Guru principle, so is the entire world beautiful because it is pervaded by the Guru's inner beauty. Such inner beauty requires the vision of an inner eye. The practices of Siddha Yoga has taught me to see with the "eye of the Heart."
Those images which function for me as Symbols represent not merely the appearance of water, for example, but they give visible form to the invisible presence of Grace which pervades all Created things in this universe. How the photographs come into existence is essentially a mystery, a gift, a matter of grace.
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Probably the most hauntingly evocative passage in Bachelard's Water book for me is about the great French poet Paul Claudel's Underground Church in Chicago project. In the little bit of text that Bachelard does give us from this visionary poet, we learn of Claudel's conviction that in the innermost part of the Earth (perhaps at the Its very Center) we will find an "essential Water" in the form of an "underground lake" which lies at the bottom of a "sacred basin." This lake, comments Bachelard, will result in a "subterranean sky." Bachelard gives us this quote by Claudel:
The bottom of the sacred basin, around which would crowd row upon row of thirsty souls, would then be filled with a lake. . . . This is not the place to elaborate upon the immense symbolism of water, which chiefly signifies the Sky . . .
This merging of water and sky is directly related to the poem by Mary Coleridge. Her poem was used as a text for an incredibly beautiful piece of music entitled The Blue Bird by the English composer C.V. Stanford. I encourage you to hear this music. For the past several weeks I have been obsessed with listening to it each night before I go to sleep. Bachelard devotes the last chapter of his Water and Dreams book to the theme "Water's Voice." Of course nature itself gives us this music, but poets, composers, and visual artists do as well. Bachelard suggests that the Created World was a sound before it was an image. Indeed, the yogic scriptures tell us the Created World originated from the primordial sound OM. Bachelard notes that water falling manifests a "humming sound."
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When I was contemplating beginning the WATER project I was reading a book by Swami Muktananda entitled Nothing Exists That Is Not Siva. It contains commentaries on several major yogic scriptures which he wanted his students to study and contemplate. One of those texts, entitled the Vijnanabbhairava, mentions the primordial elemental substances: water, earth, fire, air and ether, all of which "belongs" to the "One" "conscious Self" that dwells in the Heart. Here is an excerpt from verses 18 and 19:
The One who belongs to all --
in water, the Self of the water;
in earth, the Self of the earth;
in fire, the Self of the fire;
in air, the Self of the air;
in ether, the Self of the ether --
in earth, the Self of the earth;
in fire, the Self of the fire;
in air, the Self of the air;
in ether, the Self of the ether --
is the conscious Self in the Heart.
I offer the love of my soul to the Self
of the universe, the embodiment of auspiciousness.
And here is another excerpt from Vijnanabhairava, verse 26:
Just as various reflections appear and disappear in a mirror, so both outer objects and inner stirrings of feeling arise and subside in the space of consciousness. Entering the natural state of yoga, a yogi embraces all things and merges them in samadhi [a meditative state in which one become absorbed in God or the divine Self].
He who practices samadhi is constantly absorbed in the state in which the eyes look outward but the gaze is directed within . . . He tastes the nectar of the experience of his own true nature . . .
This meditative state of looking inwardly while looking outward is very much my experience when I photograph, or when I contemplate one of my photographs. And here is one last verse form the Vijnanabhairava, verse 30 which mentions water again in relation to the light that blazes in the heart:
When the mind is rapt inside the heart . . . [and] when it is steadied in water . . . or somewhere else in the outer creation--then the supreme light blazes in the heart.
My intention in this project is to present only water images that function for me as symbols, images radiant with grace, images overflowing with the inner light of the heart.
Returning now to Bachelard's brief introduction to Claudel's Underground Church project, I would say that Bachelard's poetic transposition of Claudel's "underground lake" to the idea of a "subterranean sky" is wholly appropriate for one who is constantly seeking symbolic images--poetic images of unity--in the "imagination of matter." Claudel himself hints at "the immense symbolism of water," which "signifies the sky" and Bachelard responds by commenting in a brief summarization: "Water in its symbolism can bring everything together."When the mind is rapt inside the heart . . . [and] when it is steadied in water . . . or somewhere else in the outer creation--then the supreme light blazes in the heart.
My intention in this project is to present only water images that function for me as symbols, images radiant with grace, images overflowing with the inner light of the heart.
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I was happy to learn that Bachelard was an admirer of the work of Henry Corbin, whose's ideas will be at the heart my next WATER project entitled Mirror in the Temple. For Corbin, it is a water mirror which exists in the center of a mosque which merges Heaven and Earth into the alchemical miracle of the "One Thing."
Bachelard invokes the heart and the divine in his summarization of Claudel's poetic vision of an Underground Church. First, he quotes Claudel: "Everything the heart desires can always be reduced to a water figure." (see my forthcoming chapter entitled The Bathers). Then Bachelard comments: "Water is the truly inexhaustible divine gift."
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I experienced a "divine gift" in 2011 while viewing an exhibition of illuminated Qur'ans at the Turkish and Islamic Museum of Art in Istanbul. It was my very first encounter with Islamic Sacred Art and it was a most auspicious life-transforming epiphanic experience which initiated the multi-chaptered project "An Imaginary Book" which turned out to be the first of what has since become a large collection of projects which explores the idea of Sacred Art within a contemporary art practice, such as my own. (Please visit my Sacred Art Photography projects for a complete listing of the projects.)
Chapter One of my Imaginary Book, entitled Prayer Stones provides a full account of my experience of the illuminated Qur'an; and Chapter Two, entitled Celestial Gardens explains the relationship between the symmetrical photographs I had begun making at that time and the Sacred Art of Islam in general, and the Islamic Garden in particular.
There is for me a direct relationship between Claudel's underground lake, which fills a sacred basin, and the idea of the Celestial-Paradisal Garden. Indeed, the Qur'an uses a phrase over thirty times which can be translated "Gardens Underneath which Rivers Flow." The Islamic Garden is intended to function as an Earthly reflection of the Paradisal Garden. Both gardens, the Earthly one below and the Heavenly one above, have four sacred "rivers" flowing through them from the the four cosmic directions (North and South, East and West) toward the very center-point or Heart of the garden where they meet and merge into each other in a fountain or reflecting pool.
This place of merging of the four sacred rivers is the origin-point of Sacred Knowledge, the transcendent Wisdom of the Heart:
The Heart corresponds to the centre of the Garden, the point where grows the Tree of Life and where flows the Fountain of Life. The Heart is in fact nothing other than this Fountain. . . The extreme significance of this penultimate degree in the hierarch of centres is that it marks the threshold of the Beyond, the point at which the natural ends and the supernatural or transcendent begins. The Heart is the "isthmus" which is so often mentioned in the Qur'an as separating 'the two seas' which represent Heaven and earth. . . Moses says: 'I will not cease until I reach the meeting-place of the two seas.' He is formulating the initial vow that every mystic must make, implicitly if not explicitly, to reach the lost Centre which alone gives access to transcendent knowledge. ~ In the Sufi's turning away from the world in the direction of the Heart there lies a powerful discipline of consecration. Martin Lings, from his book What is Sufism?
The visual Symbol is precisely that "meeting place" where reflecting images of Heaven and Earth (inner and outer realities) conjoin and merge into a Unitary Imaginal Reality. My symmetrical photographs, which consist of four repeated images that mirror each other above and below (North and South) and left and right (East and West) and intersect and merge into each other at the center-point of the image, is a symbolic representation of the Sacred Garden. The images which function as symbols are alive with the flowing rivers of grace, the invisible light of consciousness, the radiant divine Self. And as such, they mirror back to us the divinity that dwells within the center of our own inner Being, that is to say, the center of our own Heart.
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In her excellent book The Art of the Islamic Garden Emma Clark writes: "It is in the nature of paradise to be hidden and secret, since it corresponds to the interior world, the innermost soul." She explains how many Islamic gardens serve as an "inner courtyard" for the house in which the faithful lives. "The house opens inwards to the heart rather than outwards toward the world. The courtyard represents the inward, contemplative aspect of human nature." And she writes: "Nature and beauty are outward symbols of an inward grace. Throughout the Qur'an the faithful are exhorted to meditate upon these signs or symbols, since everything in the created world is a sign or symbol of God."
Only True, living symbols can unveil the unfathomable depths of Sacred Water and the luminous grace which flows hidden beneath the surface appearances of every Created thing. At bottom, symbols are beyond the reach of language and its limited cultural meanings. At the Heart of the Mystery of any substance (water, earth, fire, air, ether) there is only Citi Shakti, the Creative Power of the Universe: the conscious, divine Self.
Water--as a sacred symbol--is always pure.
On the other hand, water, as a reality in the 21st century, is in an international state of crisis. Today much of the fresh, potable water on our planet has become polluted, made toxic by human and often violent interactions. That which we depend upon for our very lives is nearing a breaking point where wars will be fought over the ownership and control over drinkable water. We have polluted our Oceans, Lakes, Rivers and streams, wells and aquifers. Huge volumes of fresh drinkable water is being turned into toxic mixtures (a process known as hydrofracking) used to mine fossil fuels; both the mining and consumption of fossil fuels are creating gases which are deteriorating our protective ozone layers which then raises the temperatures of our planet which is melting glaciers which is causing water levels to rise, which is causing our costal cities and inland cities to become flooded with dangerously contaminated waters.
Rather than trying to support a global effort to work in harmony with nature, the current president and his administration is walking back environmental safeguards and denying scientific findings and recommendations that would help reduce Global Warming or Climate Change. We have been seeing unprecedented, seriously damaging and polluting weather events: epic, record-breaking storms that are bringing never before seen flooding, high winds, droughts and fires, all of which are destroying difficult and costly to replace natural resources and infrastructure.
We are speeding toward a point of no return in which greed and blind, unconscious denial makes it nearly impossible to work together globally to save this beautiful planet that would sustain us if we allowed it, if we lived in harmony with it. I am concerned for my children and my grandchildren. They are facing a future that is terrifyingly uncertain. We must do something about the global crisis at once. We are living in a Departing Landscape. Our world is a Sacred Garden: we must live in it with love and respect. It is a matter of life or death.
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I'Ching Trigram for Water
I'Ching Trigram for Water
My Yoga Meditation Master, Gurumayi Chidvilasananda, living head of the Siddha Yoga Lineage, often uses the phrase "the rain of grace." She says we are constantly being showered with grace even when we are unaware of it. She tells the story in which we are like fish-- swimming in a lake or pond or river--seeking water.
As I mentioned earlier this project was initiated by two photographs I made after a much needed rain. I went outside after the rain subsided to look for something to photographs and I took the two photographs below:
After the Rain : Fallen Rose Petals on our Driveway, August 2018
~ Click on all photographs to enlarge them ~
After the Rain : Puddle with reflections of bush leaves August, 1918
The driveway has served me as a constant source of photographic possibility over the past ten years Gloria and I have lived in Canandaigua, New York. When it rains, its deep, black, subtly textured surface is transformed into a vast spatial field upon which all kinds of luminous visual events then present themselves. After this particular rainfall the sky's soft light seemed to make the rose petals and the reflections in the puddle seem to glow with their own internal light.
When I first contemplated these two photographs neither seemed particularly meaningful to me. Nonetheless I felt intuitively that both images offered some potential as I imagined them transformed by the four-fold symmetrical process (which I had begun using for the "Imaginary Book" project after returning home from my trip to Turkey). When I saw the the rose petal and puddle photographs transformed into symmetrical images, both invoked in me a palpable living Angelic presence. Since reading Henry Corbin and his studies involving Angels, their presence has become a living reality for me. (See my project The Angels.)
Puddle #1 Symmetrical Photograph : Fallen Rose Petals into wings of angels
Puddle #2 Symmetrical Photograph : Rain Puddle with reflections of bush leaves
After creating the symmetrical photographs above, I woke up one morning during an unexpected rain storm, complete with thunder. It was yet another affirmation from "the Universe," it seemed to me, that I should go forward with the expanded idea of the WATER project. The idea have been blessed with the "rain of grace."
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I have always been dedicated to sharing my Creative Process in each of the photography projects I have posted on this blog. In that regard, I have come to realize that, at bottom, grace is in control, not me. So I have learned to be patient and trusting of the (synchronistic) "signs" I receive throughout the production of any given project. As I write this introduction, I admit to feeling a little overwhelmed and confused about where this project is heading. There is so much visual and conceptual material to draw from. So, I have decided to initiate the project with the following three chapter titles:
Introduction and Puddle Photographs, The Mirror in the Temple, and Falling Water--the last of which consists of all new work generated from the recent trip I took to Niagara Falls State Park.
After this project is complete, you will be able to see all of the linked WATER Project titles at the beginning and end of each project.
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The Puddle Photographs
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I think of puddles as miniature ponds, miniature lakes, miniature oceans. Puddles are entire worlds whose interior beauty is formless and yet filled with invisible, palpable divine presence. Puddles can look like and function for me as eyes--eyes which are looking out at me; and sometimes puddles function for me as mirrors in which I can see reflections of myself seeing myself.
Puddles help me see what is not immediately visible by awakening images sleeping deep within my being. To see into the world of a puddle I must "see" inwardly, with the "eye of the Heart." When I become fully absorbed in the space of a puddle--an intimate space of vast immensity--a space that is at once the water's surface, the surfaces surrounding the puddle, and the reflections of light and other things above it, I sometimes encounter the Imaginal world--that ineffable "place" which exists between the inner and outer worlds where--Henry Corbin and his mystics tell us--the physical becomes spiritual, and where the spiritual becomes physical. The Imaginal world, writes Corbin, is the Origin place of true living symbols.
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Below, I have presented two writings about experiences I have had associated with puddles and puddle photographs. Then, after the writings I have presented two collections of puddle photographs: one consisting of Recently Made images, that is to say, puddle photographs made within the time-frame during which I have been working on the WATER project; and the second consisting of puddle photographs made prior to the WATER project, dating back to the late 1970's.
Under each of the earlier puddle photographs I have provided a hyperlinked "click here" prompt that will take you to the blog project in which the image was originally published. I also encourage you to click on the images so that you may view them in a larger, more technically refined presentation form.
I don't have the image I'll be writing about to show you here, though it is etched forever in my memory. It is the earliest remembrance I have of a puddle photograph I made, which dates back to 1965 when I was a student in Minor White's Visual Communications class which I took as a sophomore at the Rochester Institute of Technology. Minor had asked the class to make some photographs that functioned for us as equivalents, a term that Alfred Stieglitz used for those images which were his most personal, most meaningful; images "equal in spirit," he said, to "my most profound experiences of life." I think of equivalents and symbols as one and the same thing.
After the assignment was given, I was invited by a fellow RIT photography student to go with him to the shores of Lake Ontario to photograph. (He had access to a car!) I took there a photograph of a puddle in the sand near the lake's edge. It was a dark and mysterious image; looking into it was like looking up into a night sky. The center of the image was an organic black hole, but around the puddle's edge, and in the surrounding spaces of wet sand, there were many brilliant sparks of sun light which looked like distant stars.
It was a particularly meaningful image for me, though when Minor asked me in class to say how it was meaningful for me . . . I didn't know how to articulate my feelings about it in words. It seemed to me that Minor grew impatient or frustrated or perhaps a bit angry. I don't know why he reacted the way he did (was it to me? - was it my photograph?) In any case his response hurt me, perhaps all the more so because Minor was one of my hero's, of mythic proportion. He was an accomplished, internationally recognized Master Photographer. And yet, in this instance he failed me--as he did one other time, a few weeks later (which I have written about in another project). That class was the last he taught at RIT before moving to a new teaching job at MIT.
A Puddle of Fresh Blood
In 2003 my friend Clark Lunberry asked me to write an essay about my photography and my creative process for his Writing in the Visual Arts class which he was teaching at UW-Milwaukee. My essay consists of a series of remembrances related to death that in one way or another impacted my creative process and certain photographs I have made.
One of the remembrances I wrote about, and which I will share with you here, is about an experience that occurred in Brooklyn, NY in 1969. The remembrance was invoked by a photograph of a puddle I took in Rochester, New York in the 1980's of some drawn lines on a street surrounding a pool of water, with dark brooding shadows hanging over it. It is for me a remarkable image, particularly in the way that it relates to the experience that happened in 1969. When I took the photograph (see below) I was in full awareness of the remembrance of the near-death experience I am about to share with you.
One of the remembrances I wrote about, and which I will share with you here, is about an experience that occurred in Brooklyn, NY in 1969. The remembrance was invoked by a photograph of a puddle I took in Rochester, New York in the 1980's of some drawn lines on a street surrounding a pool of water, with dark brooding shadows hanging over it. It is for me a remarkable image, particularly in the way that it relates to the experience that happened in 1969. When I took the photograph (see below) I was in full awareness of the remembrance of the near-death experience I am about to share with you.
Click on the image to enlarge
A Near-Death Experience in Brooklyn
In the spring of 1969, about two months before I was to leave New York City to go to the University of New Mexico-Albuquerque for my MFA graduate studies in photography, I asked Gloria to marry me. She was studying art at Pratt University in Brooklyn at the time, and I was living in Manhattan working as an assistant for a commercial photographer. Gloria and I had been getting together on the weekends for nearly a year.
I had been feeling very discontent with my job and with living in New York City. I felt like I needed to get out of the City, but I didn't want to leave because of my growing relationship to Gloria. A friend saw an add for graduate teaching fellowships being offered at the University of New Mexico, Albuquerque in their MFA Photography program, and he encouraged me to apply. Months later I received the notice of acceptance into the program with an offer of a full fellowship plus a stipend to help cover my living expenses.
I asked Gloria to come with me to New Mexico. She wanted to come with me, but the more we talked it the more it became clear that it would be best not to go to New Mexico together without her parents' blessings. We should get married at the end of the summer before driving to New Mexico.
Just weeks before we were married, Gloria was hit by a car.
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Gloria lived in an apartment in Brooklyn close to Pratt. Her sister Phyllis, who had married my friend, Jim, lived in the same building. One Saturday afternoon while Gloria and Phyllis were preparing a meal together, Gloria went to a nearby corner grocery store to get a few things for the meal. After some time had passed, Phyllis and I both became concerned and went out looking for her.
We saw a crowd of people near the corner store under the elevated train tracks; lights were flashing; sirens were howling. I broke through the crowd and saw a chalk drawing--an outline of a figure--on the street. Inside the lines of the figure was a puddle of fresh blood.
I remember sitting in a waiting room anxious to hear any news about Gloria. I was numb; I was existing in a state of suspension . . . of time, of feeling, of thinking. I could not bear to live another conscious moment until I knew she was alive.
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Gloria survived. She had suffered a serious concussion, several of her teeth had been knocked out, a bone in her foot was broken, her knee was badly bruised. Nonetheless we were able to get married and go to New Mexico as planned. But because of the concussion, for the next year or more I would often see Gloria glide gracefully into a kind of trance in which her eyes would glaze over as if she had left her body and entered another world, a silent reverie. (See the photograph of Gloria in my chapter entitled Bathers.)
The image of the drawing on the street--with the puddle of blood inside it--has haunted me ever since. I have made many--many other photographs of puddles that I believe were inspired consciously or unconsciously by that experience--by the memory of that experience. Later, upon seeing those photographs I would often flash on the puddle image of blood and relive the experience.
After the Rain : Puddle with reflections of bush leaves August, 1918
I understand that images have a life of their own despite my associations to them. I don't expect others to respond to my photographs the way I do. Indeed, images that function as true, living symbols, or what Stieglitz called equivalents, are not limited in the way that they can mean for a given contemplator of the image. Symbols are open-ended in meaning; they overflow with potential meanings; they can mirror back to the contemplator what is necessary for him or her to come to conscious terms with in any given moment of their lives.
I prefer the symmetrical version of the above straight photograph, Puddle with reflections of bush leaves; my experience of the symmetrical image transcends the personal associations I otherwise tend to project into the straight photograph.
Recently Made & Earlier Puddle Photographs
After beginning the WATER project I became fixated on the presence of puddles in my life, and especially in my driveway. After a rain I would go out and look for puddles to see if other picture possibilities would present themselves to me. Sometimes after Gloria would water the garden with a hose, I would see puddles in the driveway and go out and look at them. Here, below, are some puddle photographs that have been made since the WATER project was initiated.
Immediately following those newer images you will encounter an additional collection of puddle photographs which were selected from blog projects dating back to the early 1980's. Again, please watch for the forthcoming chapter, Commentaries in which I will write about selected images presented in this chapter.
Puddle #3 Straight Photograph : Rain Puddle reflections of sky with three rose petals
Puddle #4 Straight Photograph : Rain Puddle reflections with a figurative shadow shape inside
Puddle #5 Symmetrical Photograph : Rain Puddle shadows above and below
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Selected Puddle Photographs
from earlier blog projects
~ Click on the images to enlarge them ~
from earlier blog projects
~ Click on the images to enlarge them ~
Puddle #6 "Puddles inside industrial steel bowls" Intimate Landscape
Puddle #7 "Hammer laying in a Puddle" Thing Centered Photographs
Puddle #8 "Puddle on Prospect Ave." Family Life
Puddle #9 "Parking Lot Puddle with line and shadow" Studies I
Puddle #10 "Miniature pony pissing by puddle" Studies II
Puddle #12 "Ice Puddle with Dog's legs" Studies II
Puddle #13A Puddle on snow covered driveway
Puddle #14 "Puddle and two stones"
click here
Puddle #15 "Tide pool, Schoodic Point, Acadia"
Puddle #16 "Symmetrical Puddle Photograph"
click here
Puddle #17 "Stitching the Great Luminous Circle Inside of You"
Symmetrical Pudle Photograph
click here
Puddle #18 "Heavens Light and the Moth's Luminous Soul"
Symmetrical Pudle Photograph
click here
Puddle #19 Symmetrical Puddle Photograph
click here
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This project was posted on my Welcome Page
WATER Photographs : The Complete Project Titles
Puddle #14 "Puddle and two stones"
click here
Puddle #16 "Symmetrical Puddle Photograph"
click here
Puddle #17 "Stitching the Great Luminous Circle Inside of You"
Symmetrical Pudle Photograph
click here
Puddle #18 "Heavens Light and the Moth's Luminous Soul" Symmetrical Pudle Photograph
click here
Puddle #19 Symmetrical Puddle Photograph
click here
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This project was posted on my Welcome Page
WATER Photographs : The Complete Project Titles
Related Project Links
Please visit my Welcome Page which contains a complete listing of my online photography projects, my resume, contact information, gallery affiliation, recently added projects and much more.
