VIEW IN MY ROOM
Photography, Digital on Paper
Size: 36 W x 24 H x 0.1 D in
Ships in a Tube
Artist featured in a collection
The Night Roper was the first of my stylized rodeo images, which became my White Hat series. I feel this image brings out the artistry of rodeo, which is not normally seen in traditional sport imagery. The use of strong light and shadow reinforces an abstract quality of fluidity, shape and form. The unknown rider becomes a story we can place ourselves into. The White Hat series was the manifestation of a little luck and not having the right equipment. I had never photographed a rodeo and didn’t have the correct equipment to shoot fast moving broncs and bull riders at night. I had pretty much given up on photography for the night and climbed high up on the review stand for a better view of the action. The back of the review stand overlooked the holding area for the upcoming contestants. This back stage area was removed from the crowd, lit by dim spots and filled with cowboys preparing for their rides. What resulted were these powerful, grainy, black and whites, each with a story of their own. These images are orthochromatic in nature with a contemporary modern quality. Additional Sizes Available: 16”X24” $480 includes shipping 12”X18” $250 includes shipping Optional sizes on request * Images are larger than “view in room” mode
Mediums:DigitalBlack & WhitePhotography
Photography:Digital on Paper
Artist Produced Limited Edition of:25
Size:36 W x 24 H x 0.1 D in
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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I never set out to be a photographer. I really wanted to be an artist. I distinctly remember my parents saying something like “how are you going to make a living as an artist? Drawing pictures on the sidewalk?” So, I quickly changed my career description to “commercial artist”, because “commercial” artists being “commercial” must make money somehow, so mom and dad let me head off to Boston to become one. ////////////////////////////////////////// It was nearing the end the Mad Men era and the advertising business was changing, creativity was now king. Commercial artists were now called art directors. Agencies now wanted people with ideas not drawing skills. Fortunately I was pretty good at ideas and not that good at drawing. I won a lot of awards, made a bunch of money and my parents were extreamly happy that I wouldn’t be living in my car. ////////////////////////////////////////// My boss and creative director Carl Fawlor handed me his Nikon F. I remember what a beautiful piece of machinery it was and that it weighed as much as a cinderblock. Carl told me that as an art director I’d be working with some pretty good photographers, so I better start learning photography so I could direct them. Actually I took a different approach, I picked all their brains. I’ve now carried my camera for almost fifty years. And in that time… I guess I became a pretty good photographer… without even knowing it. //////////////////////////////////////// Harry John Kerker is a Los Angeles based fine art photographer. He developed his style working with some of the greats of photography, such as Sebastião Salgado, Robert Farber and Reid Miles. He is the recipient of over a hundred national and international awards for his work and recipient of an Emmy nomination for television. He shows in the US and Mexico and his work resides in international collections
Artist featured by Saatchi Art in a collection
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