About 10 years ago as my technique and learning curve were no longer as steep and therefore as challenging, I turned greater attention towards why I choose a particular subject matter and how I actually constructed a photograph.  In hindsight, I wish the order in which I acquired photographic wisdom were reversed, refine my vision and purpose first and pursue technique once my purpose was firmly in place.

     For the last 15 years, I have been involved with a more regional group of committed photographers where we would meet periodically and share our work and discuss more the content of the image rather than how it was accomplished. These gatherings were very inspiring and I found I was most interested in where other photographers would frame their compositions, what and why are their borders where they choose to begin and end a photograph.  From that I could clearly see the center of interest of the photograph, where to place that center of interest and how to build secondary relationships through shapes, tonalities and texture became the challenge. Minor changes in any of those components could have a profound effect on the final idea and content of the image, particularly with regard to creating depth and dimension in a 2-dimensional photograph.

     Over the years I have been fortunate to befriend and spend time with many world-class photographers and printmakers.  There’s a central core that runs in each of those visual artists, a commitment and passion for their craft is first and foremost.  Regardless of celebrity when that trait presents itself in others we all become peers, our areas of interest may differ but the drive and passion for the art become that unifying theme.  These traits I speak of don’t just happen, one doesn’t just set out to become committed or passionate. That process takes time to mature and move forward and then one day you look up and realized you really haven’t been forced to be committed, rather your passion has driven you to heights you likely never imagined possible.

     The other part of our craft that I believe has gradually been taken away from younger photographers is the actual preparation of making living prints, to touch and feel in a way that is simply not possible on a computer or mobile device.   It’s likely a generational thing that the Photo Arts Xchange hopes to make all photographers aware of.  Preparing and presenting your work to the best of your ability is the culmination of triggering the shutter. No matter your final output, experiencing real photographs that you can “feel” is a powerful force that will fuel your passion to move your own work forward.  For me, this was never so evident than when I visited the Georgia O’Keeffe Museum in Santa Fe for the first time.  I have long been an admirer of her work; I have several posters in my home.  I was simply dumbstruck on my first visit to her Museum; never did I imagine her originals would have such a profound impact on me.  I returned several more times during that visit to Santa Fe and I am still not sure I can put into words the magnitude of O’Keeffe’s talents and passion for her craft.  Her work, along with other committed photographers continues to fuel my own passion and drive to carry my own work to new levels, and for me, this collaboration with like-minded photographers is the most efficient way to accomplish that goal.

Steve Sherman, Rocky Hill, CT

 You might ask…What do I bring to the table

        Valid question, simple answer…Your vision, what you want to say with a visual image.  Regardless of where you see yourself on your journey with visual art originating from some form of a camera there is room for growth, improvement and a more defined approach.  That is the simple charge of the Photo Arts Xchange, to bring together differing viewpoints, interests and yes skill sets to grow and improve through Xchange of images and discussion.  The camaraderie alone with offer new and untapped inspiration, this from someone committed to making photographs for 40 + years.