I had enough photography this last week to last me for months to come. I thoroughly understand the capabilities of my camera and can adjust the depth of field and shutter speed by choosing the right little picture, as well as bracket the exposure via this little button with odd markings on it on the side that I always wondered what it did. I'm still slow at making adjustments, but the design of digital cameras does slow up that process. What's with those little pictures anyway? I am an adult. We could use the terms that have been used for decades? But then what do I understand about new and improved?
Anyway, unable to put my camera aside, I spent a lot of time annoying Ellis as he read the Sunday New York Times. I wanted to catch someone else doing something they liked with the joy showing on their face; he was the only guy around sitting still. I have no idea if either of these photos is good enough for the Venetian Technique class, but I like both and think I will be able to put in the time a highly realistic rendering demands on either one of them or both? One in class. One in studio. My intense interest in the photographic connection to this painting process suggests the tedious, very realistic process is a necessary step to take finding my way home. I think finding your artist voice requires following your curiosity. When you are no longer curious. your either where you want to be forever, or dead? I might never find my voice; the hunt is too interesting.