12x12"
Studies
~ Compilation Book One ~
Inkjet prints, made in 2023
Introduction
The 12x12" Inkjet Print Studies Compilations consists--as of March 2024--at least eight collections, or "Books" of 12x12" inkjet prints made in 2023-24, and eight 12x12 "Projects". They are modeled after by very first miniature silver gelatin prints, which I called Studies, begun in 1994. The project ran for over a six year period. See my first two Studies projects entitled Studies 1994-2000 and its companion project Monk's Quirky Music : Studies II
(Please visit this link which contains my complete collection of published blog Studies projects.)
The introductory texts to the two early silver print Studies projects will serve as an introduction in important ways for this 12x12" project before you now and all that follow. Those early silver print projects consisted of snap-shot sized, miniature black & white square silver gelatin prints (3.5 x 3.5") made from my archive of black and white negatives collected over thirty years or so (the late 1960's through 1994-2000).
The blog images you will be seeing in this project (and all the other Studies BOOKS) exist as 12x12" digital, inkjet prints; and from those larger digital image files needed for printing I was able to create smaller file size copies suitable for publishing on my blog versions of the projects. After I initiated by blog The Departing Landscape in late 2010 I decided I now longer needed to make prints of the images I published. I continued to make large file versions of the images and save them in case I would later want to print some of the images. And that time has at last come for me. It now seems right to begin to make an inkjet print archive of my digital work that now as an online blog archive of my work. My inkjet print archive now exists as well in digital form, for all of the images I print will be published on my blog. Here is the link for all my images that exist as inkjet prints created in the last 15 months: The 2023-24 Inkjet Print Projects.
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The very early miniature silver gelatin prints, 3.5" square, came about while I was looking through my huge archive of black and white negatives in 1994. I started seeing . . . hidden inside the larger negatives, smaller sections of an image that looked like it could make an interesting picture. I continued to look through my archive of Black&White negatives and found more and more interesting images I had overlooked at the time I made them. I had one rule: the image had to be square. And I decided I should make them snapshot size: 3.5" square.
I love the square photograph and its ability to center a viewer's attention on a primary subject within that picture's concentrated pictorial space. The miniature 3.5" square prints also relate to a powerful memory of a life-transforming experience I had when I was nearly ten years old, an experience (See my essay Death, Art, Writing, stories #5 & #6) that directed me toward my destined path to become seriously engaged in a life-long creative process of making photographs.
Later I would identify the kind of photography I would become involved with as being part of the great tradition of photographic as Equivalent, established by Alfred Stiglitz in the 1920's and carried on by Minor White, Paul Caponigro and other modern and contemporary fine art photographers. In 1972, I defined my conceptual world view as an photographer-artist in my MFA Gradudate Written Thesis which had to do with Carl Jung's ideas of the symbol, Self-Knowledge and the theory of Synchronicity.
From the beginning of the 1994 Studies project, I permitted myself to crop into a square format the images I found within my 4x5" 35mm and 2 1/4" formatted negatives. I found so much interesting material to print from my archive of negatives that I became very exited by the project which continued to unfold over the next six years (1994-2000) -- the longest time I have ever spent of one project.
The miniature images were inspired by brief piano compositions (etudes, preludes, etc.) and the square snapshots that were so familiar to me (and important for me) from my childhood. By the year 2000 I had generated well over one thousand miniature square silver gelatin prints. In 2000, I began printing Garage Series photographs as miniature square image. Later in 2016 I made larger 18x18" inkjet print versions of these images (by scanning the negatives into large digital files).
The process of finding new images in old work eventually inspired the way I continued to make new photographs with my 35mm camera. The new camera made Studies images came into being as very spontaneous, intuitive responses to what I was seeing and feeling . . . and they came with the intuitive understanding that I would be printing square images from the within the longer 35mm formatted negatives my camera produced. I consciously tried to avoid thinking and contriving for myself various subject, formal or conceptual themes while photographing. And my approach proved to be successful. I experienced in those years (1964-2000) a special sense of creative freedom which encouraged me to distance myself from anything that might limit my picture-making possibilities.
At the heart of this way of working I was not directing my creative process so much in terms of "ideas" as it was allowing "the grace of my Creative Process" to lead me where ever I needed to go photographically. I came to think that "thinking" could be detrimental to my creative process. I was always (though I didn't consciously understand it as such) an image that carried a "divine presence", images that seemed to be illuminated from within, images that functioned for me as True, living Symbols, an idea I had come to recognize in 1971-72 while a graduate student at the University of New Mexico, Albuquerque as I discovered Carl Jung's theories of the Creative Unconscious and the mysteries of synchronicity.
I have continued my contemplation of the True living Symbol for over the past forty eight years. In 1987, when I began practicing Siddha Yoga with a True, living Teacher, my understanding about what Jung was talking about grew deeper and deeper in its meaning for me. The Symbolic photograph as remained a very powerful idea for me: essentially it is about an image--emerging from grace--which gives visual form to the universal spiritual concept of the Self and the Oneness of Being.
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The images in this project are, in a way, "snapshots" taken from (often the very center of) larger longer formatted images. The 12x12" Studies present the essential nature of the larger image it originated from, and often in a much more concentrated form which naturally, directly centers a viewer on the very "heart" of the "meaning" of the larger image. For me, each 12x12" Study has its own validity as an image separate from the larger image it was made from, and at the same time it is a distillation of its source image.
I refer to the 12x12" Studies images as "versions" of their original source because in many cases I have often taken many kinds of intuitive liberties that transform the original image material. The addition of a surrounding tonal matte certainly made the process of conversion to the 12x12 format all the more meaningful for me, and often in surprising ways.
The image inside the surrounding matte tone is usually around 8x8 inch square, but that can vary depending of the image. The matte tone and width on all four sides of the image varies, depending of the image, but generally it is approximately 2" which in total is 12". The matte area is also surrounded by a 1" white paper base border. The printed image, including the 1" surrounding white paper base totals 14x14". (After the presentation of the images, I will write more about the matte and how it works in different ways for me.)
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I began making 12x12 inch inkjet prints in February 2023 and now, as I revise this introduction in March, 2024, I have made well over 500 digital inkjet prints for the 12x12" Studies project. As I continued making the BOOK collections, I felt the impulse to created some 12x12" PROJECTS in which I explore some important recurring themes in my creative process. Visit this link to see my updated Complete series of 12x12" Studies PROJECTS and the 12x12" Collections of BOOKS.
How I have chosen the images for inclusion in this first Book of 12x12 Studies and how I have organized the material in this blog format was pretty much based on impulse, the same intuitive kind of response that generated the files from which I chose to print square images hidden within the larger originating digital file image. I have chosen to present images that have been among my longtime favorites. And I am especially interested in the concept of the "quirky" image, a term I made my own inspired my the music of jazz composer and pianist Thelonious Monk. I love his whimsical playfulness, his odd, spontaneous unexpected musical turns and transformations he creates during his performances. Making photographs like that can lead me to a pure feeling of joy.
All of the images for the 12x12 Studies Projects and Books have been printed with my new Epson 6000P printer under rather extraordinary circumstances regarding my eyes*.
(*Note: To learn all about my five eye surgeries--which occurred in the first four consecutive months of 2023) and the "bubbles" that were in both my eyes while I was making the inkjet prints for the 12x12 Studies projects, why I had to purchase a new Epson 6000P printer in January 2003, and my decision to include the surrounding tonal mattes in the 12x12" Studies images--for both the 12x12 Books & Projects . . . visit my project The Pandemic Inkjet Prints.)
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Before I conclude, here, I want to underscore the idea that most of my Studies photographs I have chosen to make prints of in the past year (2023-24), function for me as True, living Symbols, which are a product of the grace of my "Creative Process." This statement is said in the context of my 36 years of practicing Siddha Yoga (which I have shared with my wife Gloria) with a True Master of Meditation, Gurumayi Chidvilasananda who initiated both of us with her grace, her shakti in August 1987 during a two day mediation program. In Siddha Yoga the creative energy of the entire Universe is called shakti. Gurumayi's shakti transformed my life in every way, and in particular my creative process in photography. Every photograph I make that is for me alive with grace--or what I sometimes refer to as divine presence--is a manifestation of that grace which has blessed my life ever since I met Gurumayi . . . and, I believe, even earlier than that. Based on my experience in Siddha Yoga, I have no doubt that the epiphany I experienced in 1955, just weeks before my dad died and which directed me toward my life in photography--was indeed a blessing from the lineage* of ancient Siddha Meditation Masters.
(*To learn more about my involvement in Siddha Yoga and its impact on my photography visit my 2015 project Photography and Yoga and my large collection of Sacred Art Photography Projects. To learn about the Siddha Lineage visit these three links: (Gurumayi, Swami Muktananda and Bhagavan Nityanada.)
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After the presentation of the photographs, below, I will write about the tonal matte that surrounds the images. I should also mention, here, that the mattes surrounding each of the images look, to me, really great in the printed inkjet version of the image. (It has however been difficult to get the blog version of the image to achieve the same articulated tonal match.) And, because by necessity I have had to place the matted images on the blog's default white page, the matte perhaps will appear to distance you from the image it surrounds in varying degrees. There is, however, an alternate viewing option of my blog images available for those of you working with desktop or laptop computers.
Thus I encourage you to visit this link Click here for more information regarding viewing the photographs published in my blog projects. ~ Welcome to Book One of my 12x12" Studies project!
The Photographs
12x12" Studies, Book One
2023 printed images were made from my
vast archive of digital image files
12x12: Studies Book 1, image #1 Ghost Woman, Masked Atlanta City Series
(This 12x12 Studies print was made from a digital scan of the original 1975
print. I was exploring the techniques of multiple-exposure in the camera
and solarization of the print in this project and two others.)
12x12: Studies Book 1, image #2 Christmas Candle and house plant
12x12: Studies Book 1, image #3 Spider plant in clear glass bowl
(This image is a Pandemic inspired photograph)
12x12: Studies Book 1, image #4 Butterflies and oranges
12x12: Studies Book 1, image #5 Sliding stone & shadow
(This 12x12 Studies print was made from a digital scan of the original 3 /12 Studies I print.)
I have made many, many photographs of stones. This image has
a quality of joy and enthusiasm in the way that the stone appears
to be sliding to a silent standstill, locked into a posture of
stillness and closeness with its own deep shadow.
12x12: Studies Book 1, image #6 Symmetrical Studies Photograph : Chain fenced-off corner
12x12: Studies Book 1, image #7 Circled Portrait with crossed lines
12x12: Studies Book 1, image #8 Suspended Fulcrum with lines
12x12: Studies Book 1, image #9 Blue Angel, white light & three lines
12x12: Studies Book 1, image #10
Grandchildren's golden hand prints & drawings on our picture window
12x12: Studies Book 1, image #11
Four plastic hangers dissolving into the shadowed background
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12x12: Studies Book 1, image #12 Crowd of people looking into a flash of light
I took this picture around 1964, when I was a student of photography at RIT.
I was very worried about an atomic war at that time. As a graduate student
at the University of New Mexico (1969-72) I solarized the silver print;
then, sometime after 2003 I scanned the image and made some
additional digital adjustments to the image. In other words,
I love to re-vise images, transform them, place them
in different visual contexts, different projects.
Some images have a lot to give. See my
12x12: Studies Book 1, image #13
Garage photograph with dark sky and shadows
12x12: Studies Book 1, image #14 A dog asking "What am I looking at?"
from my project Silent Dialogues
12x12: Studies Book 1, image #15 Garage and its door mostly in shadow
If you can look close enough you will see lots of detail in the shadow
area of the garage. The blog's white space surrounding the image
make's the eyes of one's pupils close down which gives a
misleading view of what's seeable in the darkness.
Visit my Garage Series project.
12x12: Studies Book 1, image #16
A Blue Eyed Monster (Air vents, Underground City, Turkey)
12x12: Studies Book 1, image #17
Lake Photograph, 1982, made with film that had become fogged
12x12: Studies Book 1, image #18
A limbless tree in a park on a very foggy day following a snow storm
This photograph is from my Images of Eden project
12x12: Studies Book 1, image #19
A self-portrait "shadow" inside a puddle on our driveway after a rain storm
(A Pandemic inspired photograph)
See my Puddle Photographs
12x12: Studies Book 1, image #20
Nocturne : Moonlit photograph : "The ghost in the corner"
(A Pandemic inspired photograph)
See my Nocturne project
12x12: Studies Book 1, image #21
Plant, steamy window after a foggy morning over the meadow
This photograph was also made during the Pandemic, a dark time,
a grieving time in the United States and around the world.
I stayed inside and made lots of photographs like this,
and the other two above.
(See my Pandemic inspired projects)
12x12: Studies Book 1, image #22 Symmetrical photograph : ceramic bowl on round table
At dawn I was walking along with a monk
on his way to the monastery.
We do the same work, I told him. We suffer the same.
He gave me a bowl, and I saw
The soul has this shape.
Rumi
(trans: Coleman Barks)
12x12: Studies Book 1, image #23
A circled, triangulated abstract negative/positive photograph with lines
12x12: Studies Book 1, image #24 A boy surprised by the blue balloon with a yellow tail
12x12: Studies Book 1, image #25
A figure silently conversing with a large shadowed bush (negative print)
12x12: Studies Book 1, image #26
A Straw Ball (that was thrown by some kids in a barn through a shaft of light)
See my Postlude & Thing Photographs
12x12: Studies Book 1, image #27
A fisherman on the edge of Lake Michigan on a sunlit foggy morning
12x12: Studies Book 1, image #28
A negative-positive swan with a diamond of light suspended above it
12x12: Studies Book 1, image #29 Portrait of young man in a harsh light
12x12: Studies Book 1, image #30 Line Drawing Portrait
Click here to see my collection of projects in which the portrait
or other kinds of photographs of people have a dominant presence.
12x12: Studies Book 1, image #31
Four shadowy figures walking in a circle under a flash of light
12x12: Studies Book 1, image #32
"Abstract Symmetrical Photograph" from the project
in Istanbul, Turkey while looking at an ancient hand-painted
Qur'an. I write about the experience in the project's
chapter entitled Prayer Stones
Visit my 2024 project Double-page Illuminations for An Imaginary Book
12x12: Studies Book 1, image #33
Motel window view of two fences around a swimming pool
12x12: Studies Book 1, image #34
Green garden hose under a long table with red flowers on it
12x12: Studies Book 1, image #35
Storm clouds over the South meadow & pond, as seen through our picture window
12x12: Studies Book 1, image #36
Costa Rica: A bus with its headlights on, its driver returning
12x12: Studies Book 1, image #37 Green river, tree limb and shadows
See my WATER projects
12x12: Studies Book 1, image #38
Gloria reading under a lamp at night, seen reflected in our picture window
12x12: Studies Book 1, image #39
Shepherds on the side of a hill in Turkey as seen through a bus window
Windows have been a constant presence in my photography.
I have made many photographs of and through our picture
window that looks out over the meadow behind our
house; and I have made many photographs from
bus windows during the trips Gloria and I
have made in foreign lands.
The bottom of the image is blue in this image because of a window
shade imbedded in the glass to help protect the driver's eyes
from the bright glare of light in the Turkish landscape.
(See my collection of Window Photographs.)
12x12: Studies Book 1, image #40 Blurred Angel, as perceived in a window's reflection
I became fascinated by Angels after falling in love with Islamic Sacred Art
while visiting Turkey in 2011. The writings about angles by Henry Corbin
and by Tom Cheetham was an important influence on my work after I
completed my multi-chaptered 20011-13 project inspired by my
experiences in Turkey. Visit the project "An Imaginary Book"
and my collection of Angel Projects.
12x12: Studies Book 1, image #41 Dots & Lines (Abstract Photograph)
12x12: Studies Book 1, image #42 Miniature Pony reflected in a puddle
(This 12x12 print was made from a digital scan of the original 31/2" Studies print.)
12x12: Studies Book 1, image #43 Bird, steps, bush . . .
This photograph is from my Steve Lacy project, inspired by
the great jazz composer and performer. The bird was
digitally added to the photograph after I learned
of his death in 2004.
12x12: Studies Book 1, image #44
Visit my blog link: "Thing-Centered" photographs
12x12: Studies Book 1, image #45 Three similar houses in sunlit fog
See my project Creation-Dissolution of a World
12x12: Studies Book 1, image #46 Gloria, just days after we were married, August, 1969.
Gloria was hit by a car a few months before I took this photograph;
she was still suffering from a sever concussion at the time. We
had just gotten married and were traveling to New Mexico to
study art at the University of New Mexico, Albuquerque.
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I love the subtle tone separation of the towel from the
white of the sky, and the way the matte tone echoes
some of the luminous flesh tones.
12x12: Studies Book 1, image #47 Meadow Plants after a snow storm.
12x12: Studies Book 1, image #48
Side of a house in the late afternoon light after a rain storm
12x12: Studies Book 1, image #50 Two pieces of blue tape and plastic strips
(A Pandemic inspired photograph)
12x12: Studies Book 1, image #51 Boy, bat and ball
When I took this photograph, in that instantaneous moment,
everything flashed white . . . This image comes close
to looking like what I experienced.
12x12: Studies Book 1, image #52
Meadow Pond, iced over (A Pandemic inspired photograph)
12x12: Studies Book 1, image #53 Little girl on a golf green with her cup of ice cream
It was the Forth of July at a Milwaukee Park when I took this photograph,
and, I don't know why, but I put the line in the photograph, digitally.
This image looks so much better when you cannot see the white
of the blog page surrounding the gray matte. It's amazing
how the image become so much more luminous when
you can see only the matte and the image.
12x12: Studies Book 1, image #54 Miniature Landscape
Snow drifts in our back yard
12x12: Studies Book 1, image #55 Bed post, lace curtain, opened window
12x12: Studies Book 1, image #56 A Glass table (in a basement corner under a window)
Bus stop, snow storm, three people and birds flying upwards
This digital print was made from a scanned 2 1/4" negative. The photograph
was made during a snow storm in downtown Milwaukee
around 1984 or 85. See my project City Places.
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12x12: Studies Book 1, Symmetrical image #58 Angel of the Lyre (Angel of Music)
So much of my photography has had influenced by music.
Visit this link to see those music inspired projects.
This symmetrical photograph is radiant with
light which often, for me, serves as an
equivalent for music, or sound.
12x12: Studies Book 1, image #59 Symmetrical Photograph
Angelic Presence in the Vermont Woods above Broad Brook
I have concluded this collection of 12xx12" Studies with an image
which for me feels pervaded by a strong divine presence.
Thus the image is included as a kind of
Benediction for the project.
I took the source image for this symmetrical construction in
Vermont, where I made three Broad Brook projects.
(Click here to see the three Broad Brook project links and other Water themed projects.)
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Afterword_
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More about the of 12x12" Studies
Thematic issues
The surrounding tonal Mattes
The 12x12" inkjet prints
Influences
By the time I complete the 12x12" Studies project (I intend to complete Book Eight in March, 2024) my intention has been to provided an essentially complete overview of my archive of selected favorite photographs--in both print form and as they can be seen in published blog projects including my blog documentation of the images I have printed in 2023-24 . . . dating back to the mid-1960's. The varying array of conceptual ideas, subject matter themes, and the full range of formal & technical-transforming tools that I have used over the years . . . all this and more will become visually represented, documented or "catalogued" . . . though in a relatively unsystematic way).
I have printed over 500 inkjet 12x12" Studies images in various groups across eight books. I have sequenced the images to some extent in each book according to the images I have chosen to publish in each blog version of each Book; I have written titles and in some cases written commentaries on selected images and where useful I have provided blog links that will help to illuminate particular images.
This project has helped me to become more aware of the complexity of relationships that exist amongst the many projects themes that have announced themselves within my 60 years of concentrated work from the mid 1960's through 2024. As I have already tried to explain, this project has taken me back to the very early Studies projects, and in honor of that body of work produced between 1994 and 2000 I have produced a 12x12" PROJECT that consists of only of the 3.5" silver print images which I produced in that period. (See the project here (it should be finished in March or April, 2024.)
Regarding the Mattes
When I am preparing to make the digital files for printing the new 12x12" inkjet print Studies photographs, I take very special care to chose a tone for the surrounding matte that will best support the image in terms of feeling and varying kinds of visual-perceptual issues that affect how the image looks and feels. (I have always felt, since I began blogging, that the images loose a lot of visual power when presented against a white background.) Sometimes the matte tone echos, extends or amplifies certain tones within that particular image itself; sometimes I choose a matte tone that provides a visible though sometimes subtle separation between certain tones on the edge of the image and its interface with the tones and/or colors of the matte. Alternately, there are certain times when I chose a matte tone that will match identically particular tones that extend to the edge of the image where it interfaces with the matte tone such that those image-tonal spaces merge into each other and as a result the tone in the images extends to the surrounding space of the matte.
I want the matte to serve the image in every way possible, and, at the same time, I want the matte to serve the viewer in various ways as well. It should be clear by now that I consider the matte an integral part of the total experience of the 12x12" photographic image and not just a decorative border. I hope you, the viewer, will give the matte its deserved attention and consideration as you contemplate the images, and I hope the matte will significantly contribute to your experience of the image in a meaningful way.
Photographs can mean in unpredictable and unsayable, subtle ways.; thus I encourage you, the viewer, to enter each 12x12" Studies photograph as if it were a world unique to itself, a "messenger" providing News of the Universe and invoking understandings that cannot necessarily be expressed in words, but which can awaken interior experiences that will be perfect for each viewer each time he or she encounters the image with an open mind and an open heart.
Regarding the thematic issues which emerge within this 12x12 project
Recurring themes have emerged within the many and varied projects I have pursued over the expanse of my picture-making career (from the late 1960's to the present). See my updated blog listing of Theme-Related Photographs & Projects.
Also I encourage you to visit "Studies" A Collection of Published Projects to see a listing of all the blog projects I have identified as Studies projects. In a way, all my photography projects are Studies projects, and though I have often been tempted to identify certain projects with the rather general and cryptic title, Studies, I often publish my blog projects with titles according to other more enticing thematic issues, perhaps referencing a conceptual or subject matter theme . . . whatever may help attract and and at the same time clue a potential viewer into some degree of engagement with the project.
The links I have encouraged you to visit--which have been placed under certain photographs in this project--should be considered important visual and conceptual context that could amplify and inform your experience of the the project's image presented just above the link..
Regarding important influences
The themes that have dominated my work since I initiated my blog, in late 2010, often relate to the Sacred, the divine presence, the grace that I feel pervades the imagery; and very recently there are several projects that have been inspired by the Pandemic. Many of the early Studies projects had been inspired by Music, and that continues to be true for some of the more recent projects as well. There are also many subject matter themes that have emerged over and over again in my work such as: garages, stones, water, snow, landscape & the Meadow behind our house, figurative and portrait photographs, Homage themes . . . and more.
Certain individual artists and composers have influenced my work: These Homage projects include the following: the composers Morton Feldman, Valetnin Silvestrov, and Federico Mompou; the jazz composer-performers Theolonius Monk & Steve Lacy; the painters Giacometti, Giorgio Morandi, and Robert Ryman. My work has been inspired by Islamic Sacred Art and the writings of Henry Corbin, Tom Cheeetham; the writings of Gaston Bachelard; and the American poet Robert Bly. Most importantly to (since 1987) are the yogic teachings of Swami Muktananda and Gurumayi Chidvilasananda.
In the early 1980's I read Robert Bly's book News of the Universe which awakened me to the idea of the Thing Photograph & the Thing-Centered Photograph, thematic/conceptual concerns that have dominated so much of my photography, including the Studies projects, since the mid 1980's. Bly writes about the Consciousness that pervades the Things of the world, a living consciousness not so very different from our own. He demonstrates this through a wonderful selection of "Object" poems. A few years after I read Bly's book and became deeply involved in Siddha Yoga, I was thrilled to discover that the ancient yogic teachings affirmed what Bly and Bachelard, Corbin and Cheetham . . . and so many other great writers had written about so beautifully . . . about the inner life of things.
Regarding the 12x12 Inkjet Print Versions of the silver gelatin photographs
Most of the images you have seen in this 12x12" Studies project were made directly from digital files created with my digital camera. On the other hand I have also included in this project digitized version of some of the earlier silver gelatin print project (preceding the year 2003 and the Triadic Memories project, my first public display of digital imagery).
The technique of digitizing earlier silver print images is quite simple: I have used my own flat-bed scanner for prints 8x10" and smaller; and for larger silver prints I simply copied them using a high quality digital camera, and then fine-tuning the images using Photoshop editing tools. (In some cases, I also scanned original negatives.) I personally feel the digital print versions of the earlier original silver prints are at least as good or better !! (But of course there is something unique about an original silver print that is hauntingly different from an inkjet print version of the same image.)
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Again, I want to refer you to my blog versions of my earlier Studies projects, but most especially the first two projects: Studies I (1994-2000) and its companion project Studies II : Monk's Quirky Music (1994-2000). The images and the introductory comments will help inform the selections I have made for all of my 12x12" Studies projects.
Thanks for visiting this first Book of the 12x12" Studies project. Please visit my Welcome Page and check the section at the top of the page entitled "Most Recently Added Projects" for announcements and links to all the past year's projects I have created.
This project was published and announced
on my blog's Welcome Page May 19, 2023,
and then revised several times thereafter
including this most recent revision in
March, 2024.
Related Blog Photography Projects
Please visit the Welcome Page to my blog The Departing Landscape. It includes the complete hyperlinked listing of my online photography projects dating from the most recent to those dating back to the 1960's. You will also find on the Welcome Page my resume, contact information . . . and much more.