Photography through the murky mind of depression.

“If one is even able to pick up a camera while depressed, it can make ones perception very different than when one is not depressed. Things don’t seem to have the sparkle and glamour they had once before. One usually ends up with darkly composed pictures. If there is any light, it is very selective in the way it is applied to the subject.

I rarely pick up my camera when I am depressed, because I know I will be disappointed with the outcome of any pictures I take. The effort it takes to create a good picture is often overpowered by depression. Depression is a very debilitating thing. It takes away the things that you once loved to do, making the simplest of tasks seem impossible to achieve.

Bright colors seem too bright and washed out, while darkness seems appealing. If one could use photography to capture the happiness of life, or just the essence of life itself, I think it could be a useful tool in the healing process. By focusing on something other than the negative, one could use the camera to block out the bad things in life and try to see only the good.” James Burns


James Burns is a primary contributing photographer, influence, and closest friend. While working together a few years ago, James helped me over a slump by encouraging me to pick up my passion as a hobby. This company, it’s accomplishments, and much of our vision has been greatly furthered by the support of our friend. The need for artists to express themselves and be creative runs deep. Sometimes the act of expression itself can begin a healing process.

We would like to present to you some of Jim’s work. His floral images speak volumes, personalities sparkle or flare as the light hits just so. His work is featured in our gallery, and we’ve compiled a book with his work, entitled “Flowers At Night”. We invite you to preview it at http://www.blurb.com/bookstore/detail/574482


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Observing Light and Shadow

Many times I hear and read about the way a photographer or artist lights their subject. What happens when we reverse this idea and ask “How do we shadow or darken our scene?”

Sometimes, it is the parts of the image that are hidden and left in the dark which feed our imagination and create a stronger appeal and emotion. Darkness in an image leaves a question behind. What is beyond that darkened doorway? Does the smile on his lips reflect in his unseen eyes?

Reverse the process by which you see your subject. Add shadow to a fully lit scene, rather than lighting one that starts in darkness. Observe what is added in the impact when we take away what is known, rather than revealing those things that were hidden.


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