“Without Misprocessing, God Is Obvious Everywhere”

If an average person looks at a low energy, even unloving, painting he will be put into that negative state. But if he closes his eyes for, say, a few minutes, then he will behold it as an Instance of God.
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“The Matrotrophic Photographer”

From the Greek tropos, a turning, is derived our tropism, a turning movement of an organism. So phototropism is an organism, especially a plant or a tree, turning towards the light. And as a photographer, I turn to the light: always aware of it, always relating to it.
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“The Relationship, Not the Name”

I dislike the word subject for whatever, whoever, I photograph. It is so cold, clinical – and can have a sense of being subject to me, as if I am in command, its master.
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“A Name for My Artwork”

I have been looking for a word to use for all my pictorial endeavors: painting, photography, and the placing – or throwing – of objects to then be photographed. I cannot find one in English. So I am led to the Chinese shih hua.
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“At the Supermarket”

Outside the supermarket I was immediately attracted to – by – some wondrous patterns on a white traffic line. Of course, I started to photograph them.
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“What Could Be More Extra-Ordinary?”

What could be more Extra-Ordinary?
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“Tendaifying the Twig”

A new word: Tendaify. The Japanese Buddhist sect of Tendai that originated in China as T’ien-tai, was brought to Japan by Saicho (767-822). Its central thesis is “the notion that the absolute is inherent in all phenomena, and that each separate phenomenon is but one manifestation of an unchanging reality.”
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“Every Photo an Affirmation of Her”

The old Afghan photographer accosted me outside the camera store. Gripping my arm – he seemed like the Ancient Mariner – “Photography is Light!,” quoth he.
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“Seeking the Buddhahood of the Subject”

Saicho (766-822), the Japanese founder of the Tendai school, taught of the Buddhahood of all phenomena. Whenever I photograph, I seek the Buddhahood of the subject, whatever it may appear to be.
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