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OUT-TAKES by Photographer Jack McConnell

Soldiers & Sailors Arch

Soldiers & Sailors Arch

Don’t miss my new Hartford Parallax: City Abstracts collection displayed at the Gallery at Stackpole Moore Tryon* at 242 Trumbull Street in Hartford from October 7-November 30.
Artist Reception Thursday October 20 from 5-7pm.

There are 38 prints displayed at various sizes: 8 36×54 prints in the display windows; and in the gallery are: 6 vertical 24×36, 9 square 14×14, 9 vertical 14×21, and 6 horizontal 14×21.

*Stackpole Moore Tryon has been voted Best Men’s and Women’s clothing store in Connecticut for the past three years by Connecticut Magazine. Be sure to see their new Fall collections.

Conversation with Jack McConnell:

The Hartford Parallax:City Abstracts Collection represents a huge departure from the way I’ve worked throughout my commercial career.

For 45 years I traveled through the United States and Europe shooting annual reports and advertising campaigns for Fortune 500 clients. Along the way, I always took personal time to do
street photography, catching moments in the lives of city dwellers and passersby–a walk through Lisbon, Venice, London—wherever I was sent to work.

Now, I’m busy re-interpreting a city only five minutes from my home. A city so familiar to me I wonder if I can possibly see it with fresh eyes.

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So I prowl the downtown streets and neighborhoods armed only with an extreme telephoto 400-550mm lens, an extreme wide angle 8-15mm lens, and a multi-colored polarizing filter.
I challenge myself to find details and compressed layers of line, form and color that convey the legacy of 300 years of architecture within the bounds of one of the oldest cities in America. Sometimes I’m standing one-quarter mile from my subject, other times my nose is pressed to window glass.

A couple of days each week, I go looking, looking, looking—seeing Hartford anew. I use a multi-color polarizing filter to emphasize the differences in warm and cool light. I go at 6 am and 8 pm to capture the best possible light. I go on rainy days and sunny days to find reflections of buildings in other buildings. I look for signage, statues, friezes, graffiti, all the details that make Hartford distinct from other cities. I’m amazed by what I can find in these compressed spaces. I like the simplicity of the images. In many of the photos, even though there’s barely anything to give away the identity of the buildings, there’s just enough, and most viewers seem to know that it’s City Place, or the Goodwin, or the back of the XL Center.

Blue, Mauve & Gold

Blue, Mauve & Gold

The color comes from the shadows and light of early dawn or dusk, and the reflections of one building in another, or the clouds and sky, or by tilting the angle of my camera, or by rotating the polarizing filter on my lens. When I process the files I can push or pull the overall color tones to make the color stronger or softer; but I’m not changing any one portion of the image as you might expect. It’s trusting the serendipity and enjoying the moment of tripping the shutter and processing the file.

I want these energetic photos to help Hartford re-introduce itself to visitors from away, and to neighbors from the suburbs. I’d like to plaster the photos on billboards along I-91 and I-84, wire them to chain link fences surrounding construction sites, project them onto buildings and play a sequence to music every night at 9pm. Or have them accompany a music or dance performance, or have them magically appear as action-triggered images on iPhones as folks walk by a Welcome to the new Hartford sign.

Not the same-old, same-old, beige and gray Hartford, but a warm, exciting place to live, work and play. It would be my dream if these photos could help create the buy-in that’s needed to create a new reality here in Hartford.

Now that I’ve taken the time to discover a new way to interpret my favorite city Hartford, I need to see it through, to continue finding new shots on my walks through the city streets. And to find unique ways to share this work with the community and groups that could benefit by using the photography to re-introduce Hartford to its neighbors and visitors.

From my years living in downtown Hartford and my more recent life in Wethersfield, only five minutes away, I’ve always been optimistic that Hartford would step up to the plate and come into its own. With all the good things on the horizon, from the new ballpark, the five downtown college campuses, the new energy as developers from New York and Boston take another look at Hartford’s potential, the 17 new housing projects throughout downtown for students and young professionals, and retail improvements in neighborhoods like Parkville and DoNo,
this could be Hartford’s moment.

If I can push through to find the right focal point that will create excitement about Hartford through new imagery, I’ll feel I’ve accomplished a Parallax shift in the way folks interpret our Capitol city. In all the photos I’ve taken of Hartford through the years, I feel this recent work is my best work. A supporting grant at this point would give me the ability to continue to explore my vision and see what I can yet discover about this city I love.

My own experiment in “seeing” comes at a pivotal time. Because this new work focuses on Hartford, which is approaching a critical moment in its history, I feel an urgency to complete this collection of photography and bring it to the attention of folks who need to see it, and share it as widely as possible. I think the photography will delight and help define a more
upbeat view of Hartford.

Cityscape #1

Cityscape #1

While I make several photo forays to the city each week to continue the work of exploring at dawn and dusk, I am also taking steps to meet with marketers, event planners, artistic directors, corporate communicators, space planners—people working on Hartford
from many different angles.

I am contacting museums, galleries, building owners, developers and leasing agents for the 17 renovated buildings providing apartments to young professionals and students attending the five downtown college campuses; and property managers for the 15 office towers that are changing hands, providing new energy to the city as tenants move in and out of downtown office space.

Hopefully some of the thousands of workers who drive in and out of Hartford every day, will think about bringing their families into the city to participate in the many activities that go on here daily in theatres, parks, museums, restaurants, clubs, and neighborhoods.

I’d like to think that the new City Abstracts can be the catalyst for cross-promoting among all these organizations as Hartford works to become its best self, and finally grabs the brass ring.

If not now, when?

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Hartford Parallax: City Abstracts

After photographing Hartford for 45 years for corporate and tourism clients, last summer I challenged myself to create a fresh perspective on one of America’s oldest cities. I use an extreme telephoto 400-550mm lens, an extreme wide 8-15mm lens, and a multi-colored polarizing filter. A couple of times a week, I wander downtown streets and neighborhoods, looking, looking, looking. By drastically changing my point of view, I create a Parallax effect and an energetic profile of Hartford. This is an exciting time for Hartford, and I hope my parallax view of the city will help skeptics set aside the same-old, same-old, beige and gray ideas, and embrace a new Hartford identity.

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I feel an urgency to share the new photographs with folks who need to see them – city planners, dwellers, neighbors, and visitors who come to work and play in the Capital City. After all, this comes at a pivotal moment when four nearby colleges are moving campuses downtown, when 17 office buildings are being renovated to include apartments and lofts, and many office complexes are being refurbished and modernized by developers.

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It’s time to celebrate a NEW Hartford, the one we’ve all been waiting for. A state-of-the-art DoNo baseball stadium, modern restaurants, clubs, music, theatre and movie venues are enlivening Downtown and the convention center corridor near the Science Center and Riverfront Recapture. I hope my reinterpretation of Hartford will ignite viewers and help define a more upbeat view of the city.

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Ninety-five percent of each image is created in the camera, with a little enhancement in the computer to create a dramatic sense of the Capital City at its best. I can then use the photos as elements in collage murals, banners, billboards, and outdoor art, alongside classic Hartford images to promote and market the city and businesses.

All photographs on my five websites are available for fine art display, or for advertising and website use. You can order photos through the Purchase Page on my website, or contact me at my Wethersfield studio at 860.563.6154 or e: jack_mcconnell@msn.com .

It’s time to enter to win a free posterChoose your favorite Parallax image and complete the contact form. The next drawing will be held May 1.

 

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At Water’s Edge – Is it a painting or a photograph?

OUT-TAKES by photographer Jack McConnell

At Water’s Edge — Is it a painting or photograph?

Special hand-painted photographs by Jack McConnell are featured at Art in the Abbey fundraiser March 10-12 at St. James Episcopal Church, 2584 Main Street in Glastonbury, CT.

Throughout my 50 years as a photographer, I’ve tried a variety of special techniques to challenge my vision and nourish my creativity. One of these is to print B&W photographs onto fine art photographic papers that have old-fashioned “tooth” that will facilitate a hand-painting process, where I use Marshall’s transparent oils straight from the tube, applied with cotton swabs, sable brushes, or by using a vigorous hand-rubbing technique.

My hand-painting style resembles the tradition of turn-of-the-century photographer Wallace Nutting, but with more gusto and energy. Instead of pastel tints and watery washes, I mingle translucent and opaque techniques with a quirky color intuition and gritty textural manipulation done with sable-tipped brushes and hand-rolled cotton swabs. By using painterly finishes like stippling, smudging and layering of color, I try to straddle the line between paint and emulsion, playing with a print’s tactile surface and asking the question, “Is it a painting, or is it a photograph.”

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The tradition of hand-coloring on Black & White photography goes back to the mid-1800’s and continued for more than 100 years, until color film was readily available. In the first half of the 20th century, photographers like Wallace Nutting organized cottage workshops of painters who applied color over his prints. Nutting prints became wildly collectible, moving from country flea market stalls and garage sales, to high-priced galleries and antiques shops.

For awhile Nutting worked from the Old Wethersfield historic buildings of the Webb-Deane-Stevens Museum on Main Street, only two blocks from my studio. He also produced furniture which is now in a collection at the Wadsworth Atheneum in Hartford.

The traditional hand-painted photographs tended to be largely pastel tints and watery washes of color over dreamy landscapes delicately interpreted—ladies swathed in airy gauze. Mordant flowers tumbling silently from a porcelain vase. A hint of gesture. A wisp of color.

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My choice was to shoot more gritty subject matter found everywhere from town dock to boat yard, from woodlot to the auto dump. In fact I have a whole series which I title Rust & Rubble, which can be seen on my website, JackMcConnell Photography.com. I also prefer to use color straight from the tube, rather than diluting it with a thinning medium. So what you see, for the most part, is a deeper intensity of color.

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With certain prints, I take the process one step farther—by having the finished, hand-painted, photographic print reproduced onto Somerset Satin, an imported British fine art paper. These archival Iris Prints (also known as Giclee prints) are scanned and printed in my lab here in Wethersfield in limited editions of 25 prints.

 

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CT Farmers

Agriculture in Connecticut is a 3.5 billion business with 5997 family farmers.

In order to bring attention to the need to preserve CT farmland and support

CT farms, Jack McConnell has photographed 75 farm families and shows

these portraits in galleries and public spaces around the state. You can see

an 8-minute video set to music at: KnowYourCTFarmer.com.

Or browse through 16 pages of farmer portraits at:

JackMcConnellPhotography.com – click on Collections-stone walls & farms P7-23

 

To join Jack’s farmer collection, call to schedule a photo shoot and talk

with Paula at 860.563.6154 or email jack_mcconnell@msn.com.

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OUT-TAKES by Photographer Jack McConnell

 New England stone wall photography

 New England Stone Walls – Icon at Risk

TIME

This photograph is about 4 billion years of foreplay by fire and ice.

It’s about bedrock forged in fiery tempests 300 million years ago.

And about mud and sludge beneath the Iapetos Ocean

transformed into the gorgeous banded rocks

visible all over New England today.

It’s about England and New England parting company

200 million years ago when Pangea suffered the ultimate rift,

leaving five miles of sedimentary rock.

It’s about 2 million years of intense glaciations

leading up to the final ice age 20-30,000 years ago

when the Laurentide Ice Sheet roared down from central Canada,

scouring bedrock, splitting rock,

and dragging these rocks to this pasture.

It’s about 11 generations of Stonington farmers who cleared this field,

piled stone upon stone to keep pastures open for grazing livestock.

Maybe 250 or 300 years of caretaking at this one spot.

It’s about f32 at ¼ second, the infinite space

between this blink and that blink.

 

New England stone wall photographyAs much as lighthouses, covered bridges, and grist mills, stone walls are signature icons of New England. Today, they stand in peril, challenged by developers who subdivide the landscape and disrupt the historical timeline of our early agricultural past.

 Of Fire & Ice: Rocks & stones in the Yankee landscape

Criss-crossing New England for 40 years while shooting annual reports and ad campaigns for Fortune 500 clients, I learned that New England is a land of intimate landscapes. Unlike the panoramic West, here you find your photos close at hand and underfoot.

My interest in “rocks in the landscape” goes back to my youth. Growing up in Gorham and Berlin in northern New Hampshire, I’d skip school to hike the Presidential Range through the White Mountains. After graduation I worked as a backpacker for the Appalachian Mountain Club and weather observer at the summit of Mt. Washington.

That’s where I taught myself photography—shooting the rocky headwall at Tuckerman’s Ravine, the Gulf of Slides, and Lion’s Head. I became intrigued by the abundant evidence of our geological history, passing glacial till, boulder fields, and gigantic out-of-place glacial erratics on my weekly trek up Mt. Washington to report to work at the weather station. With reportedly the worst weather in the world, the summit of Mt. Washington, even at a puny 6288’, is well above timberline, and tiny alpine trees and finally only rock fields decorate the mountain top.

When I left New Hampshire and moved to Connecticut in the ‘60s, I’d hike the nature trails, where I’d see remnants of early colonial settlements, stone walls outlining fields of the post-colonial farmers, the rebuilt walls of the later gentleman farmers, cellar holes and stone-faced root cellars, stone-surrounded graveyards, industrial factory foundations, millstones, waterwheels, stone bridges, dams, and water locks.

Beyond the city limits of Hartford, up and down the Connecticut River Valley and along the New England coast as far north as Maine, lies abundant evidence of the great turmoil 20-30,000 years ago when the Laurentide Ice Sheet invaded New England from central Canada, stripping away ancient soils and scouring the land down to bedrock. The immense power of this encroaching ice lifted billions of stone slabs, scattering them across the region.

Five years ago when I began my Stone Wall project, I was drawn by the form, the quiet criss-crossing of piled stone against the context of surrounding woods and fields. The scurf of lichen against granite stone. Fiddleheads nestled within a niche of sun-baked rock. The puzzling presence of glacial erratics in an empty field.

New England stone wall photography  New England stone wall photography

When I come upon a stone wall, and bend to adjust my camera and focus my lens, I can’t help but feel the presence of the original hand that first stacked stone upon stone, maybe 200 or 300 years ago, I think of the generations of stewards and caretakers since who have mended the wall and kept Nature’s cruel intentions at bay. I examine the stones, dropped here 20,000-30,000 years ago by the roiling glacial turmoil of the last Ice Age. And I think of the hot furnace that forged these stones millions of years ago in the belly fires of Earth. By stopping here to tinker with my cameras on this sunny or moody day, I become part of this history, and connect to that long line of events.

At the time of the Civil War there were 240,000 miles of stone walls in New England, enough to get to the moon and beyond. But now the inventory of stone walls is fast diminishing, as are the farms themselves. Connecticut’s 360,000 acres of productive farmland contribute fresh food, scenic beauty and wildlife habitat, but the state is losing 9,000 acres of farmland to development every year. In the past 20 years alone we’ve lost 21% of our state’s farmland. Without vigorous public and private effort, at the current rate of loss, Connecticut will cease to have any significant tracts of farmland left by the middle of the century.

As the land is developed, we see the dismantling of its legacy of stone walls, and with it the loss of the irreplaceable gifts of the land. There is no other New England landform or icon to rival that of the much-beloved stone wall. Just try picturing New England without stone walls.

Connecting with Colonial farmers

As I stand in front of an old stone wall somewhere in Central Connecticut, up a side road away from cars and all the trappings of modern society, I feel myself being transported back 300 or more years. The stones were old, even then. Almost as old as time itself. I imagine a man, bent over the beginnings of a wall, stones scattered around him. A horse and a sledge behind him. He examines a stone, picks it up and carefully places it on the wall, working slowly, but steadily, working around the perimeter of a small field. His sweat, mingled with the stone imprints his DNA, his life, onto his labor, his wall. Three centuries later I am standing in exactly the same spot. I am transfixed, zen-like, contemplating the meaning of the stone wall’s existence. I wonder what his life was like. How did he ever survive. I live only by the grace of modern medicine. He didn’t have that. I think how fortunate I am. I look again at the wall and meditate on being alive.

As I work through this project, photographing old Yankee stone walls, I find myself becoming more and more enamored with individual stones and their placement within the artwork of the wall itself. Other details come into play that enhance the visual, the mystical experience of the wall. A garland of bittersweet flowing naturally over the stones. Fall foliage, a branch luminous in the rain, red and orange, contrasting the gray and green/yellow of stone and lichen. A leaf, bright yellow in a crevice, shouting out its color, “Here I am!” on a wall of greenish rock. Fog enveloping bare trees behind a wall, making the scene more mystical. An old barn. A rusted hulk of an old tractor. A field of yellowed grass…All speak their piece. To find all of these things, one has to stop. Move about on foot. Listen. Feel. Become one with where you are.

It doesn’t get easier—

As I work on our stone wall project, the pictures are becoming harder and harder to find. Why? Because I’ve gotten most of the obvious, expected images. Why? Because I have explored a lot of my environment already. What is left? Unique weather. Better light. Undiscovered walls. All of which are hard to find. But I keep at it. I drive farther. I look for fog, early and late light. I’m more discriminating. I study the walls more carefully. Details, angles, backgrounds are more important. Color is important. I go out when I probably shouldn’t bother, hoping for a magic moment. Sometimes it happens. I sometimes use strobe, even in daylight. I shoot at night. I add people to a few more stone wall images. I’m not done yet!

Connecticut may be one of the tiniest states in the union, but packed within its two hours north-to-south and two hours east-to-west, is a fascinating landscape with plenty to keep a photographer busy. And what’s caught my eye over the past year, has been miles and miles of Connecticut stone walls.

For 40 years while creating story-telling photographs for my corporate and institutional clients as I shot their annual reports and advertising campaigns, I often said I leave no stone unturned. But now, I’m actually shooting the stones and rocks themselves!

In every season, first light finds me traipsing through woods, or poised along the borders of a farmer’s field, sometimes eyeball to eyeball with a turkey hen or dairy cow. I plant my tripod, adjust the shutter speed, and recapture another piece of history, for most of these stone walls stand as evidence not only of Connecticut’s agrarian past, but also its geological roots.

To know New England well, one must know its stone walls. Forged at scorching temperatures deep within the Earth and brought to the region by huge glaciers, each stone is the result of both fire and ice. Today’s stone walls continue to be transformed largely by biological processes. Bacteria tarnish them. Lichens dissolve them. Vines penetrate and loosen their stones. Trees, blown down during hurricanes, knock large gaps in walls, as though taking bites of the earth. Left untended, every wall will come apart, tumble to the ground, disperse over acres of soil, and be buried by encroaching vegetation. Although inanimate, stone walls have an important story to tell. They give us a clock by which we can judge the passage of almost unimaginable time.

A selection of Jack’s stone wall prints are on exhibit until July 18 at the Celeste LeWitt Gallery at the UCONN Health Center in Farmington. To learn more about the fascinating story of New England’s stone walls, check out Stone by Stone by UCONN Geology Professor Robert Thorson.

To learn more about Jack’s stone wall project, visit his websites at www.stonewalljack.com and www.connecticutstockphotography.com or contact him at his studio/gallery: Jack McConnell, McConnell & McNamara, 182 Broad St. Wethersfield, CT 06109 860.563.6154, e: jack_mcconnell@msn.com

 

New England stone wall photography jacksSignature_onWhite

 

 

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OUT-TAKES by Photographer Jack McConnell

winter scenesOUT-TAKES by Photographer Jack McConnell

TIPS for photographing in cold, snowy weather:

In winter I look forward to going out with my camera at dawn just after fresh snow has fallen, or at the tail end of a storm when snow is sticky and clings to trees. It seems like everything is a picture, and I’m a giddy kid in a candy store.

Winter scenes are monochromatic, letting you really concentrate on composition. Shooting photographs is a Zen-like process, for a photograph represents the smallest instant of time. Nothing that comes before it or after it matters at all. Anything just beyond the picture frame may as well be a million miles away. It’s a constant reminder to experience life in the moment. If you go out open-minded, with an empty hand, you can almost always find a photograph.

Going wide. It’s just me, I guess, the way I choose to see, but I find the most pleasing images are made with either a wide-angle or telephoto lens, and as I approach a scene I start to pick out the elements that will work best together. I like to emphasize foregrounds and increase the visual perspective between foreground and background, or to compress the perspective of a scene with a telephoto lens.

Timing is everything …the U-turn. Often, when a shot doesn’t work out the way I want it to, I try to return to the scene in different light. But it almost never works out. The weather, the light, my mood is different. Someone has plowed the roadside between visits. Highway workers have set out safety cones. Rarely do I get a second, better chance. So I try everything I can to get my shot the first time round.

It’s the little things in life that trip you up, like exposure: The first problem people have when shooting in snow conditions is getting the exposure right. Their tendency is to under-expose the scene, forgetting that the in-camera meter wants to see everything as 18% medium gray. Depending on what percentage of the scene is white snow, you have to open up 1 stop, or even more.

Approaching the scene: Be careful not to contaminate your scene with footprints as you make your decision about where to set up to shoot. If you’re in slippery conditions, consider using ice creepers over your shoes to give you a better grip. These are available in sports shops like Maine Sports.

Keep hands warm by using a pair of winter golf gloves, which will protect your hands from direct contact with cold metal. They are slightly sticky feeling on the surface, so your equipment  won’t slip out of your grasp. Put hand warmers in your pockets and put your gloved hands in there at every opportunity, and you’ll do just fine. Bare hands get too cold, mittens and winter driving gloves are bulky and awkward to use. Gloves with finger tips removed are useful, but hands can become very cold. Put foot warmers in your boots, outside of your socks. Always wear a hat, because you lose a lot of heat through your head. Dress in moisture-wicking layers as you are likely to have a few minutes of exertions, followed by a period of waiting around for conditions to change.

Use a tripod: 95% of the time I take the time to set up a tripod to insure sharpness. A carbon-fiber tripod is expensive, but doesn’t conduct cold as much as aluminum does. I use a wood tripod, but if you’re using aluminum, try wrapping plumbing pipe insulation around the legs to reduce hand contact with cold metal.

Condensation: The worst thing you can do in extreme cold conditions is to accidentally breathe on your viewfinder or lens as you’re leaning over your camera to set your f-stops and shutter speeds. This can cause frost, and even permanent damage. Likewise, if you’ve put your camera under your jacket to protect from falling snow, you can cause condensation when you bring it back out into the cold air. At the end of the day, I put my camera back into the camera bag, close it up, and let it warm up slowly for several hours inside the house, before I take the camera out. Otherwise put your gear in large plastic bags while still out in the cold before bringing into the warm house, so condensation forms on the bags rather than your camera.

Composition: I don’t particularly follow the historical “rules of composition”. If I do it in a composition, it’s generally by accident.  I try to shoot a lot. The more I shoot the better I get, even after all these years. I like close-ups and details. Hard to find, but worth the effort. I look for contrasts—big vs. small, light vs. dark, warm colors vs. cool, hard against soft. Barns, fences, trees, a group of people provide contrast to the snow.

 

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