Remembrance of Rivers
by Tom Morgan
12” x 18”
Matted and Framed
Artist Biography:
Thomas Morgan was gifted a twins lens Yashica 124G as a graduation gift, and it was with this camera that he began his journey as a photographer. It was a rebellious camera at the time, given that much of the commercial and artistic photography community were shooting on 35mm. But conforming to the norms of the day was never his thing, and with this unbridled spirit Morgan was able to develop baseline photography skills and his eye for composition and narrative in his work.
Morgan continues to shoot film for the aesthetics but has fully embraced the possibilities of digital photography as an artistic expression. He prefers landscape compositions, artistic still life, and cinematic portraiture, and can often be seen in and around the Southwest with his gear, looking for the perfect light.
A Southern California resident for nearly half his life, Morgan has exhibited in physical and digital art shows and galleries in the United States and Europe.
Artist Statement:
I endeavor to see the story when I’m in the moment of capturing an image, try to transcend its history. And in that moment, I often reflect on whether anyone has stood at the same spot I did and if so, who were they? Did she or he see what I saw? The possibilities are endless. Photography is the quiet observance of the fast-moving world in which human connection has been untwined to the last strand but in that tethering we see and feel the world upon which we tread. We’re passing through this time; I’m simply a vessel whose strength is the observation. I want my world to be beautiful, but I can’t force it. I want those who see my work to slow down and reflect. That’s what photography is to me: Reflections on this passing moment, and somewhere within the casting of that light there is beauty.
About:
I marvel at the light in the West, and always have. The hard shadows at mid-day are unrelenting and challenging; nothing can hide, everything is exposed, is at risk, or revealed. Conversely, the drowsy morning and late afternoon light is softer, more resonant, and the shadows lengthen, creating a breathtaking sense of calm. I don't believe I have a preference for either; I'm always seeing a composition for what it is, and that's when the narrative kicks in in my mind's eye.
But the true magic is in the editing and post production work. That's where the artists' thumbprint is all over the final images where the raw files are transformed from pictures to photographs. I make it a point to fully explore the possibilities when editing files; these, of course, started out as color images; I do variations of both black and white and color, test saturation and vibrance, and allow for the narrative to come through. As it happens, the submitted images are monochromatic. I felt that the story they were telling required this as the final variation.
Remembrance of Rivers
by Tom Morgan
12” x 18”
Matted and Framed
Artist Biography:
Thomas Morgan was gifted a twins lens Yashica 124G as a graduation gift, and it was with this camera that he began his journey as a photographer. It was a rebellious camera at the time, given that much of the commercial and artistic photography community were shooting on 35mm. But conforming to the norms of the day was never his thing, and with this unbridled spirit Morgan was able to develop baseline photography skills and his eye for composition and narrative in his work.
Morgan continues to shoot film for the aesthetics but has fully embraced the possibilities of digital photography as an artistic expression. He prefers landscape compositions, artistic still life, and cinematic portraiture, and can often be seen in and around the Southwest with his gear, looking for the perfect light.
A Southern California resident for nearly half his life, Morgan has exhibited in physical and digital art shows and galleries in the United States and Europe.
Artist Statement:
I endeavor to see the story when I’m in the moment of capturing an image, try to transcend its history. And in that moment, I often reflect on whether anyone has stood at the same spot I did and if so, who were they? Did she or he see what I saw? The possibilities are endless. Photography is the quiet observance of the fast-moving world in which human connection has been untwined to the last strand but in that tethering we see and feel the world upon which we tread. We’re passing through this time; I’m simply a vessel whose strength is the observation. I want my world to be beautiful, but I can’t force it. I want those who see my work to slow down and reflect. That’s what photography is to me: Reflections on this passing moment, and somewhere within the casting of that light there is beauty.
About:
I marvel at the light in the West, and always have. The hard shadows at mid-day are unrelenting and challenging; nothing can hide, everything is exposed, is at risk, or revealed. Conversely, the drowsy morning and late afternoon light is softer, more resonant, and the shadows lengthen, creating a breathtaking sense of calm. I don't believe I have a preference for either; I'm always seeing a composition for what it is, and that's when the narrative kicks in in my mind's eye.
But the true magic is in the editing and post production work. That's where the artists' thumbprint is all over the final images where the raw files are transformed from pictures to photographs. I make it a point to fully explore the possibilities when editing files; these, of course, started out as color images; I do variations of both black and white and color, test saturation and vibrance, and allow for the narrative to come through. As it happens, the submitted images are monochromatic. I felt that the story they were telling required this as the final variation.
