A Study on the Beach

It was a nice sunny day when I dropped off my wife Karen in San Luis Obispo at her jewelry making class. So I decided to drive up the coast a bit to visit Cambria. It was a glorious day. Clear sky's, Moro Rock protruded brightly up from the sea and the pacific was a deep blue color and the hills opposite were brown with hints of fall color. Then as I came down into Cambria the fog was there waiting for me as if to say, you like winter conditions well here is something for you. I decided to drive to Moonstone beach and take a walk with my camera to see what was out there. The fog was heavy and the sand coarse. It was a peaceful morning, the sand flattened by the currents and few people. I noticed the preponderance of seaweed. But in this case it was not the quantity that intrigued me it was the shapes and sizes. The patterns that they made either in a jumble or as a single piece glistening against the coarse sand.

For this the light was perfect. The fog acted like a large soft box with the mist keeping the sand nice and moist perfect for photography.

As I was processing the images I noticed that some worked better in color while most worked better in black & white.

I am adding these images to the series that began several years ago whilst walking along the beach in Pacific Grove. I became fascinated with the natural shapes and simplicity of the way the tides create beautiful collages on sand and rock from what is washes ashore. The use of natural elements placed in seemingly deliberate ways is there for all to behold. It is my interpretation of the oceans beauty that I bring to you.

For the images in this post I am going to make this series of images available in several sizes as part of a new facet to my photography. I'm calling it 200 at 25.

All the prints are created using archival pigment inks on 100% cotton rag paper with a smooth semi gloss finish.

The print dimensions are for the size of paper containing the images, not the printed image itself. All prints have a minimum 1" border around each to allow for framing. Each print comes with a certificate of authenticity.

Prints larger than 8.5 x 11 in smaller editions are signed by the artist.

8.5"x11"
Edition of 200 each $25.00

13"x19"
Edition of 25 each $200.00

17 x 22
Edition of 15 each $400.00

Emergence

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Cluster Trail

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Slithering

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Twisted Serpents

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Treble Clef

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Whipit

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Loop

8.5 x 11 $25.00 13 x 19 $200.00 17 x 22 $400.00

Photo Sale

For a limited time - Oct 20 thru Oct 24

I need to make some room. I have a selection of prints all are matted, signed, printed archivally limited to an edition of 25. Some are framed in black wood frames.

http://bit.ly/1MfET6I have posted the images that are available.

Pricing - There is only one of each available at the sale price of $200. Prints normally sell for $300 to $400 each.

Follow the link - http://bit.ly/1MfET6 - select the image that you'd like and send me an email.

Shipping - Images may be picked up at no additional cost. Applicable shipping fees will be added to image price.

Payments - Paypal.

Thank you,
Rico Mandel

Different Perspectives

When I go shooting it is not unusual for me to pick a subject and begin to work it. What I mean by that is to find different perspectives of the same subject working my way around seeing the subject in a variety of angles or perhaps lighting conditions, the details etc... I'm cruising down the highway or a back road and come accross something that catches my eye. Of course if I did this all the time the I'd never get anywhere let alone back to my computer to process the images etc... so there are occasions where I stop to smell the roses, or in this case pastures, and take some photographs.It was a rainy day in northern California and I was on my way to do some photography in the town of Occidental when I came across this building. What caught my eye were the subtle colors, geometry and stillness of the scene. It looked like an old service station or automotive garage. My first instinct was to photograph the over all building, keeping the lines straight as possible, not to distort the geometry of the scene. I am always thinking back in time when I come across a subject like this to both the day it was built and the uses it had during its heyday. My next observation after completing the first image was the garage door, clock and light. I noticed the textures, cracks peeling paint and weathering of the building. I wanted to get in closer to show more detail. The next image was a geometric detail shot of the face of the building. I composed the image keeping my favorite elements in the shot.
Next I walked up to the building for closer observation and was attracted to the cracked peeling paint and particularly the clock, stopped in time, with it's rusty perimeter, spider webs and a multi colored patina that has taken years to come to perfection. From one angle I wanted to capture the clock and the shape of the light. From another I was attracted to the extreme weathering around the clock and decided to capture that as well.
This is what I call working your subject. It's a matter of looking at your subject from different perspectives and angles examining the details, textures light colors and shapes. Thinking to yourself, how does the light fall when I'm up close or behind? How does the scene change when I view it from above or below, near of far?


It's about playing to see what happens and what the subject reveals to you. Sometimes you get multiple images from the same subject and other times you don't even get one but if you don't play then you'll never get any.