Stillness & Light

•
Harold Ross
Still Life with Avocado
Stillness
& Light
Harold Ross

LensWork Publishing
2019
 My quest, through the magic of light and shadow,
is to isolate, to simplify, and to give emphasis to form
with the greatest clarity.
Ruth Bernhard
 Introduction
•
Stillness is not often practiced in the din of our busy lives these inexpensive: just two light sources and two methods of softening
days. Taking time to really look — to see — is a luxury that, for them. To maintain integrity during the process, a sturdy tripod is
many, has been trampled by the pace of life. This is why I am essential. Although ball heads are wonderful for location work,
captivated by the photographic method of “light painting”: this I prefer a pan-tilt head in the studio; I like being able to control
process requires that I take time to explore visual beauty in sim- one axis at a time. Also, I’m a big fan of shooting tethered to a
ple subjects, which has become the underlying theme in all of computer. Capture software (I use Capture One) is the world’s
my projects. For me, the still life is much like macro work: I enjoy best light meter!
the intimate vantage point, full control over the composition
and lighting, and the ability to carefully reveal the nuances of Over the years I’ve collected quite a bit of subject matter for
color, texture, and most often — beauty. my work. The image “Twins” (one of my favorites, on page 47)
is of a found object. My wife Vera saw these leaves in our yard,
I’ve experimented and specialized in the technique of light pressed together just as they are in the photograph. Although
painting for the past 30 years — learning to reveal subjects in past their natural life, they are permanently joined; for me, the
a “different light” so that they can be appreciated in an unex- image symbolizes the permanence of our relationship. The
pected way. This light is meticulously applied while making leaves possess a certain spirit that I find enchanting. I hoped
dozens of captures; each capture focusing on a different part to bring this out — so I decided to photograph them floating.
of the subject. My process reinforces the notion that discarded
objects can have extraordinary beauty. I am especially drawn to I truly love the mystery and the sense of revelation achieved
objects that are rich in texture and surface quality, often turning with light painting. The process involves lighting and capturing
to natural subjects. In combining these natural elements with each unique piece of the subject, so the image isn’t revealed
man-made objects, I explore their relationships. until the many layers are assembled in Photoshop — where
I then begin the work of blending and finessing. Even though
In terms of equipment and preparation, I can say that the camera I’ve been doing this for many years, I’m still driven by curiosity.
really isn’t important — although working with a digital capture Every time I make a picture I’m surprised and delighted to see
is far easier than working with film (for obvious reasons). Wheth- what is revealed by the light painting process. The most im-
er I’m working in my studio or elsewhere, this process is really portant thing that I’ve learned is that photography can be truly
“all about the light.” My lighting equipment is very minimal and transformative.
There is a joke that your hammer will always find nails to hit.
I find that perfectly acceptable.

Benoit Mandelbrot
Forged
8 Worn Hammer
Anvil

9
 The Rocket Train, c. 1853

 10 
Generator, Anselmo Mine

 11 
 12  Steam Powered Winch
A-Frame Steam Powered Pump  13 
 14  Painted Steel German Chamber Clock, c. 1625
Brass Weights, Italy, c. 1900

 15 
 Bearing with Oil Cans

 16 
Industrial Blower

 17 
 Form follows function — that has been misunderstood.
Form and function should be one, joined in a spiritual union.

Frank Lloyd Wright

Shopcraft
 20  Headlight Alignment Machine
Guillotine Paper Cutter

 21 
 Piano Workshop Door

 22 
Gasparini Street Organ  23 
 Piano Workshop Wall

 24 
Planer  25 
 Assayer’s Office, Anselmo Mine

 26 
Lathe Controls

 27 
 1952 Vincent Black Lightning

 28 
Last Chance Garage

 29 
Knowledge of the past and of the places of the earth is the ornament
and food of the mind of man.

Leonardo da Vinci
Biltmore House
 The Family Sitting Room

 32 
The Great Dining Hall Niches  33 
 The Smoking Room

 34 
The Great Dining Hall Throne  35 
 36  Mr. Vanderbilt’s Bedroom #1
The Family Sitting Room Fireplace  37 
Anyone who keeps the ability to see beauty
never grows old.

Franz Kafka
Still Life
 Burnt Offerings #1

 40 
Burnt Offerings #3
 41 
 Korona Camera

 42 
My Grandfather’s Pipes  43 
 Copper Pot

 44 
Grapes and Copper Vessel

 45 
 Grapes and Chalice

 46 
Twins  47 
 48  My Father’s Tools
My Mother’s Teapot

 49 
 Green Vase and Walnuts

 50 
Pears and Gourd

 51 
 52  Spools
Pencil Sharpener and Steel Ball  53 
 54  Red Anvil
Eggs and Solvent

 55 
 56  Oil Cans #4
Saw and Tape Measure  57 
 58  Globe and Radio
Lamp and Flash Gun  59 
 Tomatoes and Olive Oil

 60 
Crock, Glass Bottle, and Brass Vessels

 61 
 Teapot and Red Cloth

 62 
Teapot and Table  63 
I often think that the night is more alive
and more richly colored than the day.

Vincent Van Gogh

Night
 Charlotte Woods

 66 
Strouds Preserve

 67 
 Bridge

 68 
Clothesline, Maine

 69 
 Santa Fe Ridge

 70 
Like so many photographers, Harold was inspired by his father. He explains, “I was quite
young when I started going into the darkroom with him, and was amazed to watch the
images appear in the developer, seemingly out of nowhere. I couldn’t wait to get my
first camera, which I did at age 15.” Harold earned a BFA from Maryland Institute College
of Art, in Baltimore in 1978 and found that photography was his way of interacting with
the world, as well as how he would earn his living — by making images for advertis-
ing. He explains, “That latter part has always represented a huge internal struggle for
me. I’ve come to believe that shooting commercially can be a proving ground, but also
a barricade.” Harold and his wife Vera live in Lancaster County, Pennsylvania, west of
Philadelphia, with their two Basenjis, Major and Charlotte.

For additional information please visit Ross’ comprehensive online gallery and website at:
www.haroldrossfineart.com/

 71 
 LensWork Monogr aph Series
•
Monograph #15 Stillness & Light by Harold Ross
Monograph #14 Iterations of Man & Nature by Mitch Dobrowner
Monograph #13 Eleven by Six by Jack Curran
Monograph #12 Indians at Work: Cultural Portraits by Louis Montrose
Monograph #11 China: Land of My Heart by Dalang Shao
Monograph #10 Peripheral Vision by Chuck Kimmerle
Monograph #9 The Least Impossible Way by Guy Tal
Monograph #8 Sand, Stone, and Sandstone by Bruce Barnbaum
Monograph #7 Icons: Portraits 1969-2015 by Jay Dusard
Monograph #6 Building Blocks by Barbara Bender
Monograph #5 Florilegium by Kim Kauffman
Monograph #4 Chariots of Desire by Huntington Witherill
Monograph #3 Mexico: The Light and The Warmth by Michael Reichmann
Monograph #2 Photographs 1979-2013 by Stu Levy
Monograph #1 Made of Steel by Brooks Jensen

Images Copyright © 2019 Harold Ross

Book Copyright © 2019 LensWork Publishing

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First Edition, First Printing January 2019
Published by LensWork Publishing, 1004 Commercial Ave PMB 588, Anacortes, WA, 98221 USA
Printed in Canada
Available by subscription from www.lenswork.com