Pines, the cry.

Nature’s validation; a space to pace, a space to breathe.

She closed her eyes. She shifted, she twirled and this was her moment, a moment that you forget exists. A feeling of calmness waiting to settle in your arms. Open eyes, the rain comes down. Soaked in what she thought was broken, soaked into what she thought was gone. Close eyes, rays shine through, giving us what we need. Her. An energy no one can replace. She grounds herself, settling her roots into this moment.






the Pinhole!

The pinhole camera! One of the most fascinating contributions to the world of photography. It was founded by mathematician, scientist, and inventor, Ibn al-Haytham. He was abled to build pinhole cameras way before the modern development of photography. He was an absolute genius because he basically figured out why the sun does what it does and calculate the Earth’s atmosphere way before spaceflight.

Above is my own pinhole camera. In the top left corner, you can see how I figured out to create a shutter that stays put with a bent piece of tape. It was very difficult to figure out what kind of shutter I wanted because the box that I chose wasn’t big or small but narrow and skinny. So, I wanted a small shutter and at first I thought of just tape or cardboard but, since this camera was very different I wanted something small but convenient. I look around my surroundings and spot, wire, tape, and black thick matte board. I had to apply a lot of tape to hold down the wire and after I completely taped the wire down, I pulled about 3 inches of tape and folded 2 1/2 inches of it to hold on to the shutter itself to allow me to expose without difficulty. The inside of the camera has a shelf made out of cardboard for paper or film.

I still have to decorate my camera and have a finished print but I will update when that is done.

Materials needed:

  1. Box that is completely dark in the inside
  2. Tape (Electrical tape is preferred)
  3. Black matte board
  4. Scissors
  5. Copper sheet metal
  6. 7 inches of wire


Jen Davis’ Self.

The essay “Self-Portraits,” by Hannah Frieser, that was dedicated to Jen Davis’ social changing photographs and how they challenged the viewer to look deeper into the photograph–the memorable source of sophistication.

Some of the photographs she took were a reflection of how she grew to understand the struggle of how her emotional and physical, impacted her weight. “One of the most iconic images of her early work is…Pressure Point.” Davis’ photo’s are not documentary images that were photographed at the actual time a situation formally occurred but showcased a potential of relativism. The images did happen but, each photograph borrows heavily from real moments and showcases with very real feelings.

This essay is beyond the essentialism of viewing a women’s body as if society were allowed to do such bullying.

Davis on her earlier images: “They show situations that especially women can easily relate to as universal struggles with body image. Her identity struggles are not so different from many young women who find themselves judged by a male gaze as their bodies blossom into maturity. Yet rather than push back against this gaze, Davis turns to quiet self-examination.”

Jen has the capability to raise and uplift Trans Women of Color through her images be there for support all the way and because she wants to be able to shape each scenario, whether realistic or a daydream, into something that is, “frank and self-inquisitive.” She creates them because is it her way of revealing what society is afraid of talking about?

A Touch.

She tells her story as it’s the last one she’s going to tell. Holding me with her soft hands as if I were never to be touched again. I take in her smell like, breathe in, breathe out. She asks me if she could and I said, “you may.” Slowly she felt each part of me, next thing I knew I was being ripped apart, with her tender hands. She smiled and held me back up again. Did she forget she was trying to break me?


All you need is some sunlight entering a tiny hollow circle.



la luz de Lucinda

The light that Lucinda Devlin brought to my creative instinct was much needed. The reason we visited the Weatherspoon Art Museum was to learn how to critique a piece of art with the four steps of art critique.


Glacier Paradise #1 (Lesly’s silhouette), Zermatt, Switzerland 2008 

As I strolled around the museum I landed in rooms full of drawings that had so many lines and minutes later after continuing to stare vigorously, the drawings became very stagnant with details and it was missing something, something that I couldn’t name in that moment. So, I kept walking. I saw a few sculptures, some canvas’ with vibrant colors and others with not so much color but then all of a sudden, I make a right turn and what seems to be like the biggest exhibition in the museum, suddenly turns into a tiniest intimate room with warm lighting and photographs that kept you intrigued for several amount of minutes (and I wish I was counting but, I didn’t think of time when staring at these photos.). Time didn’t exist here. Lucinda made me question my art. So, I do as all artist’s do and take pictures of these pictures so I can recreate these pictures. Just borrowing some ideas for later, you know?

Pleasure Ground

Calvert Hotel, Miami Beach, FL 1985

Now, I would like to mention that I loved this exhibition, every single picture spoke to me and that feeling that I was missing when I was looking at the stagnant drawings, well I found it. I felt it when I first saw the image on the left: it was warm, I felt warm. Not the kind of warm you feel when you pee on yourself but the kind of warmth that you somehow just can’t describe because it’s just that good.

That image itself is aesthetically pleasing and then you add the pastel coloring and a slight amount of lilies in front of a beige colored wall. There’s also texture, lines and shapes. The way the picture is formatted gives your eyes just the right amount of visualization to allow fluidity and being able to capture all of the image. On the left side of the photo, there’s a sprinkle of a very light rose pink that slowly diminishes into a pure white when arriving to the right of the image. What is most intriguing is the way that this photo is put together: the chairs aren’t centered, actually all the chairs are all arranged very differently creating the illusion of actual movement behind the photographer. This brings in the title of the series that features this image, “Pleasure Grounds,” which I defined when looking at this photo-is a piece of area that stresses artistic elements over natural elements all for aesthetic purposes. The way the scene is set up is to look pleasing and to make your eyes move makes you acknowledge a sense of hierarchy of vision. This image is absolutely brilliant and those lines on the ground, they’re quite something.



that tomato!

I did it, I did it! Well, sort of. I tried to say the least.

See, I love Sally Mann and everything about her. She started out by taking pictures of her kids. Now, she wasn’t the typical mom that went into town to get her Sunday stroll with the kids. Nope. The Mann family is the complete opposite. They spent their time outside and talked until the sun had set. Now, if you think that Sally just sat down and enjoyed every minute, you’re wrong. She saw a moment and she captured it. It was completely perfect, as if the moment was going to last forever and time had froze.

Although, I must admit and so will many reporters, Sally Mann had not so welcoming fans when it came to her kids being nude in photos. Oh no, many called Sally’s images, “child pornography” and even accused her of selling her children’s photo’s in the nude as exploitation of parental roles. But, that’s not how Mann saw any of it. The series is called, “Immediate Family.” Mann, saw this project as something very natural that was through a mother’s eyes. The art work presents innocence and sweetness in the most simple, yet beautiful photographs.

When I first saw, “The Perfect Tomato” I fell completely in love with Sally Mann’s work. She broke the rules of photography and she did it as if there were no such thing as rules! How did she break rules? She didn’t do one minor thing: dodge and burn. The image itself is completely stunning but when I attempted to recreate that, it was trial and error for hours.


Not So Perfect Tomato

There’s so much about this photo that I am still going to fix but for some reason, I love just the way it looks because it reminds me of Sally but also has a hint of me in it. Yes, of course I will fix it but for now, I thank Sally Mann for challenging me to become a better photographer in and outside the darkroom.


if you have simplicity

Screen Shot 2017-03-07 at 12.31.36 AM

Godthul by Peter Eastway 2015

I couldn’t find “Through A Lens, Darkly: Black Photographers and The Emergence of a People” so, instead I decided to watch Tales by Light episode five: panorama. It was the most aesthetically pleasing documentary about what it takes to photograph in wild life and what it means to the the photographer. Peter Eastway’s journey throughout this film was him shadowing, Frank Hurley’s journey through Antartica heading to South Georgia.

Before I move on, I want to say that the camera is not the one taking the picture (hypothetically speaking), the photographer is. Personally, Eastway definitely portrayed this character throughout and it was so beautiful to see watch it happen. When he said that, “photography is about composition and communicating,” it definitely emphasized the point of photography being more than just an aesthetic, it’s about lines, light and I agree one hundred percent with him, composition.

I truly enjoyed this episode of the show and the thing that I enjoyed the most is that Peter was so passionate about his work that when the sun hit his face, it illuminated every bit of him. “Photographers have a contract with society, when people see photographs many of them have an expectation that it is real. If you’re a documentary photographer you need to respect that” (Eastway) but for him it’s different because he wasn’t’ photographing for moments, he was photographing to capture the true essence of life that he was surrounded by: wild animals that weren’t afraid to get near you. Every picture he took was all about simplicity, if you have that in your images, then composition and light are easy to come by.

preferred lighting.

Hey, light it up through this tutorial!

It talks about how the different types of keys define the overall tone of the final portrait. There’s three different kind of keys: low, middle, and high. To identify the key of a portrait you can determine the average tone for the scene.

Each key has it’s way of functioning: low key is created by using a dark background and dark clothing and props-it has more dark elements than bright ones. The shoot may be shot with a higher ratio as contrast is acceptable due to the drama of a lower tone.

Middle key is the set tone that is in the middle of high and low. The way you can set this tone is by using skin tone and clothing may be used to accent the tone of the skin with contrast rather than allowing all elements to blend together.

High key is setup completely differently. It requires more lighting, power and equipment! Aside that, it also requires a great deal of light control and has the most risk of overexposure and could possibly lose details around the portrait, which is something we don’t want! So, the background of this portrait is paper because it is slightly overexposed which results in a pure white seamless background. Also, if a model is involved, it is best for them to wear bright clothing.