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The man stops. Nothing moves, save for pink feathers on the birds backs. The wind calms. Flock leader stops, settles. A female comes nearer to him. Courting, he entwines his neck in hers and they dance. It is mid-February 2012, on Acklins Island.
The flock seems at home in this part of the bay in saltwater shallows. Brine food is plentiful here and they are all well-nourished. At sundown, they take flight into the wind to move off to a nearby pond that is protected from the winds by mangroves.
As I gaze at
the flock, Iím reminded of the joy of doing photography.
First, we try to photograph subjects that make us feel something in our hearts. Later on, when we edit, we shift from our eyes to our mindís eye, engaging new ideas and associations.
crafting new flamingo images, I break out a set of software tools to make
It is time to change the images, and my mind ponders these questions: Can
flamingos be shades other than pink? What happens if I reduce detail?
Are there abstract shapes that call forth new ideas within the images?
A photo editing process is the visual equivalent of an auditory music jam session. There are no right or wrong notes. It is O.K. to go out to the edge of thought, to an uncomfortable place, to let go and to play in a different key. As my fingers tap the software interfaces, I find my initial impressions of the flamingos changing and new images emerging. Preconceived ideas of what a flamingo should look like vanish. From start to finish, photographing the flamingos propels me beyond eye and camera to heart, mind and image.
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