Darren Gust Photography: Blog http://darrengust.zenfolio.com/blog en-us All images on this website (C) Darren Gust. All rights reserved. dargusto@gmail.com (Darren Gust Photography) Sat, 20 Apr 2013 19:47:00 GMT Sat, 20 Apr 2013 19:47:00 GMT http://darrengust.zenfolio.com/img/s/v-5/u208452248-o562604104-50.jpg Darren Gust Photography: Blog http://darrengust.zenfolio.com/blog 101 120 Convenience Over Quality? http://darrengust.zenfolio.com/blog/2013/4/convenience-over-quality I have always been a 35mm format type of photographer guy. Other than a very brief foray using a Yashicamat 124G TLR and Pentax 645, I've owned a Pentax SF10, Nikon F3-HP (my favourite alltime camera)), Nikon FM2 (ditto) for shooting film. My initial jump into digital was purchasing a Canon Powershot G2 in late 2002, then two years later I upgraded to a Nikon D70, then the D80 and settling on the D300. I then jumped into Micro Four thirds starting with the Olympus E-PL1, then the EP-2, and most recently, the Olympus OM-D E-M5, the camera I use the most today and really enjoy. I have yet to purchase a full frame DSLR.

Even with selling some of these cameras (albeit for very little return) that's a wee bit of money spent in a decade trying to find the right digital camera system for everyday use, and with decent quality for my purposes ... does it ever end? A lot of people rightfully question the quality issues of micro four-thirds, a step down from the DX format. Again, it obviously depends on the end use of your images, final enlargement sizes, especially when printing. As of late, for numerous reasons, I haven't been focusing a lot on landscape and nature photography. I've been enjoying bringing a smaller, lighter system along in a small bag, ready at my disposal at anytime, be it for a country drive, visiting friends in town or walking around my neighbourhood. That is what I love about the Olympus, it is the perfect tool for that. The D300 is too heavy to lumber around for long periods. The E-M5 is so light, and I am willing to compromise a bit of sensor size for this purpose, and with the high quality Panasonic 25mm f1.4 and 45mm f1.8 lenses, I get excellent quality results.

As with everybody it seems these days I also won't shy away from using my smartphone, an iPhone4, for taking photos. Without a doubt it is not close to the quality of the Olympus but, on a whim, it does what it's supposed to do: snapshot photos. It's just another format to use, it serves it's purpose so why not take advantage of that? And it can be fun. I know that one of my favourite photogs, David Alan Harvey, has been using his iPhone for quite some time now, for the mere purpose of capturing moments with great results

Here are some recent pics from my iPhone (after some tweaking in Lightroom):

dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Gust David Alan Harvey EM-5 Edmonton OM-D Olympus art blog downtown essay iPhone micro four thirds photography writing http://darrengust.zenfolio.com/blog/2013/4/convenience-over-quality Sat, 20 Apr 2013 18:39:20 GMT
Cupola http://darrengust.zenfolio.com/blog/2013/4/cupola It was a beautiful prairie evening Tuesday and, while watching the sun slowly lower west of my balcony and paint the various buildings in my neighbourhood, I decided to grab my Nikon D300 and 300mm f/4 lens (which doesn't get a lot of use these days). A block away to the north of me is a wonderful French Canadian style Catholic church called St. Joachim's and adjacent to it's south facade is the old rectory building now called The Oblats Maison Provinciale, built in 1935. I usually only pay attention to the beautiful, formal facade of this building when walking by it. On this fine evening, with the 300mm, I was able to get a unique perspective of the cupola that sits on the roof the side lighting of the setting sun provided a nice warm pastel accent complimenting the overall blue cast. The cupola is blocked by numerous elm tree branches so I opened the aperture up to f5. This is where an F2.8 lens would work perfectly for better blurring of the branches but I had to use what was available and the results are decent.


dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Gust architecture art blog church cupola downtown essay photography writing http://darrengust.zenfolio.com/blog/2013/4/cupola Thu, 18 Apr 2013 21:17:41 GMT
View From My Bedroom http://darrengust.zenfolio.com/blog/2013/4/bedroom-view This was taken a couple of months ago on a crisp winter morning, soon after waking up. I pulled my blinds open and saw the beautiful, warm morning light painting the circular rim of the round balcony window whose shape was juxtapositioned on the adjacent balcony wall wrapping around the lower window. The sunlight was also accenting the buildings above the small park creating a nice balance. I then waited for the man in the bottom right to enter that area before clicking the shutter. I love mornings like this:

dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Gust art blog downtown essay photography sunrise window writing http://darrengust.zenfolio.com/blog/2013/4/bedroom-view Mon, 15 Apr 2013 13:43:18 GMT
Man Smoking, Woman Walking http://darrengust.zenfolio.com/blog/2013/4/man-smoking-woman-walking On the same day as my previous Morning Walk post, I decided to take photos on my walk home from work. The light was a bit harsher as it was around 5:00pm (the sun sets in Edmonton at around 8:30 this time of year) but the wonderful chiaroscuro of the sunlight and deep shadows can be taken advantage of for good effect. I was over the halfway point to my apartment when I saw a man standing against a plain yet oddly lit, warm-coloured brick wall. I had my 45mm f1.8 on the Olympus E-M5 and was a bit of a distance away across a busy avenue. I was intrigued by this scene thanks to the interesting light and the lone figure, not quite sure why he was there, a solitary figure in this bleak setting. I then saw him gesture slightly, leaning a tad forward, inhaling on his cigarette, his shadow not looking at all like a human figure. Ok, I admit I didn't think of the shadow that way when I initially saw the scene, but it worked out in retrospect. I immediately brought the viewfinder to my eye, framing horizontally, fully aware of all of the interesting vertical objects and shadow areas in the scene, and took this photo (uncropped, original RAW):

I knew, while framing, that the 45mm (90mm equivalent in 35mm) was not the reach I wanted but, with some post-process refining, this image had good potential to be a keeper. I just shot one photo and carried on my merry way home. Upon reviewing the photo the next day I realized the the photo would be stronger if I cropped it vertically. I will indicate right now that I am not one who has a moral stance against cropping, horizon adjustments, etc. from the original photo. I do try my best to get it right on the initial click of the shutter, but there are times when adjusting the frame simply works better. And, it's very rare that I actually go as radical as changing the full position (horizontal to vertical and vice versa).

I also decided that I would love to see this in black and white. The colour works for me but, like The Hill photo a couple of posts back, there is a wonderful graphic component to this that would work so well in monochrome. So, after adjusting the framing and making minor tonal adjustments in Lightroom, I ran it through Silver Efex Pro. I added a bit of grain to it, as I come from the era of Ilford HP5+, my favourite black and film loaded in my Nikon F3 in the 90's, and I like a bit of grain in black and white street photos. In the software I also used a red-yellow filter to darken the sky and lighten the wall a bit, strengthening the shadow effect. Here is the result:

The vertical elements work really well in my opinion, I like the uneven leaning of the sign posts, and the array of tones from deep shadows to specular highlights. The man is only a part of the scene scale-wise, yet his shape contrasts with the surrounding rigidness of verticals that invites intrigue. Is he the main subject? I believe this is an example of gestalt, he is part of the whole sum of the photo. The needle-like steeple in the top left corner is a mysterious, abrupt shape stabbing at the sky because, well, it can. I will let this one sit for awhile and return to it in the future, perhaps my initial excitement will wane, who knows at this time.

The next morning I followed suit when I saw the gorgeous morning sun and took a few photos on my way back into the office. I wasn't having as many 'ah-ha' moments as the previous morning but on the final stretch into City Centre Mall there is a long, tight strip of sunlight framed by dark shadows along the south of the facade. When walking eastward (towards the rising sun) the pedestrians in front of you give off superb, long shadows when walking within the light. I couldn't help but notice a young lady ahead of me wearing black tight leggings ending with black ankle boots that had fake fur accenting the sides. I immediately thought about Peter Turnley's famous photo of the woman walking up the Paris Metro, the backs of her calves glowing below her waving, long coat, the stilettos of her shoes grinding into the concrete stairs as she walks up them. I am proud to say, thanks to Mike Johnston and one of his wonderful Online Photographer print sales, I own this silver gelatin photograph and it was one of the earliest street photographs that inspired me. So, using my LED screen with the 45mm lens I tried my best to capture some kind of photo of this woman's lower calves and shoes, trying to take advantage of the shadows and her movement. I'm not sure that I really succeeded but I'm more or less pleased with one of the frames I selected, and it was also converted to black and white:

The shape of the sole is interesting, slightly textured and the 'fur' really stands out. There is movement indicated here, something that can work in a photograph with the right intent. I also timed it perfectly with the light as her next step was literally into the shadows so I was a bit lucky in that regard. What can I say, deciding to bring my camera with me into work this week has jolted some much needed photo inspiration back into my soul, they won't all be keepers (and certainly not masterpieces) but one needs to just get out there and work at it; you never know what you will end up with.

dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Gust Peter Turnley Silver Efex Pro The Online Photographer art black and white blog chiaroscuro downtown essay photography shadow street photography writing http://darrengust.zenfolio.com/blog/2013/4/man-smoking-woman-walking Sun, 14 Apr 2013 00:40:13 GMT
Morning Walk http://darrengust.zenfolio.com/blog/2013/4/morning-walk I've been spending a lot of time behind my Mac this winter editing and organizing my photo library along with printing my portfolio project. I haven't been spending much time with my camera and doing what I love to do, taking photographs. I'm fortunate to live near my office, about a twenty to twenty five minute walk, but for most of the winter I take the subway and am fortunate to have a station literally outside of my apartment lobby door. This morning I was happy to wake up to a balmy one degree celsius outside and the sun was out, the low rays accenting the apartment towers west of my balcony (a rarity this winter). So, on a whim I decided to grab my Olympus E-5 and slapped on the Olympus 45mm f1.8 lens, a gem of a piece of glass, and take a few photos on my walk to work.

This time of the year the light is well above the horizon after 8:00am and, since I walk eastward, there is gorgeous backlighting coming from behind the tall buildings and reflective light deflecting easterly off the glass of the office towers. It's interesting to take advantage of the the play of light and shadow in these conditions with the most interesting scenes often happening in corners and doorways. And I feel energized when I get to the office, a bit like a workout.

Here are what I consider the best images from my walk :

dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Gust art blog downtown essay photography writing http://darrengust.zenfolio.com/blog/2013/4/morning-walk Fri, 12 Apr 2013 00:45:18 GMT
The Hill http://darrengust.zenfolio.com/blog/2013/4/the-hill A couple of months ago I decided to print a portfolio of what I consider to be my strongest work to date, colour and black and white. I set a goal of printing at least fifty to a hundred photos on 13x19 paper, the image size being 15-16 inches wide, depending on the aspect ratio of the photo. After a lot of thought about the best paper to use (to be printed on my Epson 3880) I decided I wanted a robust, thicker paper with a lustre surface with great archival characteristics. I really like Epson Ultra Premium Lustre paper, but feel it dents too easily when being handled. I have also used Ilford Galerie Gold Fibre Silk (now with the word 'Prestige' added to it along with a price increase), I love the texture and weight but find that the surface scratches much too easily, an issue when storing prints laying on top of each other in a storage box. After researching on the internet I decided on trying Canson Infinity Platine Fibre Rag. I was more than pleasantly surprised. It has an obvious texture, some photographer's think too much so, and, I do admit, there is a hint of metamerism when viewed at a certain angle, moreso with colour prints than black and white (which look extraordinary). But, in the end I decided to go with this paper, it just works for me at this time. And, regarding archival issues, the fact it doesn't contain OBA's and is 100% cotton fibre rag is what I was looking for.

The ultimate intent of this project is to print what will be an archive of my best work, hard copies of high quality master prints that will be stored safely yet accessible at anytime. Maybe it's because I'm hitting middle age and I have an inherent urge to leave something behind when the inevitable occurs. But I am also aware of how important photography and the making of fine prints has been in my life, and, up to this time, I really don't have a super organized print archive. I've been editing and culling my work for years now, and I find using Adobe Lightroom to be a godsend for this task, especially using keywording and creating catalogues. But, as most photographers are aware of, deciding and editing what you consider your best and strongest work is a painful process. Are you looking for what has most 'commercial' potential (ie. postcard-like stock work) or what moves you most on a pure, subjective level? I decided for the latter. The former requires at few more sets of eyes and objectivity. Somebody else to play the role of art director. That works when there is a specific means for use of the work. In my case I am putting together a very personal archive of what "I" consider my personal best; it doesn't matter what other people think. And, I do know that many of the photos I have been selecting have had positive responses from other people. It's always a beneficial educational exercise to hear the variety of opinions that people have of a specific piece of work. To quote Paul Simon, "One man's ceiling is another man's floor". 

This is also a great exercise to do when one feels in a creative rut. Brooks Jensen of Lenswork Magazine has an excellent podcast on this topic titled 'Blocks to Creativity'. In it, amongst other things, he suggests browsing through your archive and try to notice threads of continuity and themes in your work, hopefully sparking an idea for a portfolio or project idea. My first solo photo exhibit occurred this way, 'Building Facades of Small Town Alberta'. While browsing thousands of images in my Lightroom archive I came upon the repetitious theme of these facades, shot over a 5 year period. I truly had an 'ah-ha' moment and I immediately conjured up the idea of doing a show of selected pieces of this theme. 

The archive printing project isn't specific to any theme or subject matter though, and that simplifies the process. Although, I am beginning to see themes and I am getting ideas for a possible show and Folio presentations in the process. That also helps keep the fire lit under me and helps with inspiration. But, I initially selected over nine hundred images and, after three edits (all cataloged as such) I have culled it down to just over two hundred images. Up to this date I have printed thirty, a few need to be tweaked, and I am in a bit of a lull as to the next prints to make. And, in this case, time is of the essence as I don't have an actual deadline date from an outside source other than I would like to complete this by autumn of this year. Of course I expect to continue to add to the archive as time moves on.

One of the prints I decided upon was a photo that I took at my favourite natural spot in Alberta, Dry Island Buffalo Jump in September, 2009. Two other photographer friends and I spent the day hiking there and as the sun was slowly lowering and we made the long walk back to our day camp I came across this near-symmetrical, low lying hill that lay in a hollow amongst the eroded badland textures surrounding it. The side lighting was perfect, a contradiction of diagonals and wonderful highlights and tufts of glowing, dancing grass lay at the top of the small, shaded cliffs peeking down at the hill: 

I used a Nikon D300 and a Sigma 50-150 f2.8 lens for this photo, tripod mounted. The image shown above is my final colour version, completed a week ago. I like it. But, the initial RAW image was predictably flat in Lightroom and, a couple of weeks after this was taken, I immediately thought the this deserved to be black and white due it's strong graphic nature. My initial black and white conversion took place in Lightroom with the following results (after some minor tweaking):

I had more or less let this be since 2009, it was okay but the shadows were quite blocky yet the intent was beginning to feel right. When I started culling my work for this project I came back across this photo and decided I should include it. But it needed improvement. So, I initially worked on and substantially improved the colour version (above) and thought that perhaps it should be printed in colour instead. Well, being a stubborn sort, I wanted to see how I could improve the black and white image. So, this time I used Silver Efex Pro, a fantastic piece of black and white conversion software that I use often today. After making adjustments there I touched it up a bit more in Lightroom, using the gradient tool and adjustment brushes. I will make mention that Lightroom expert Julieanne Kost's videos really helped me get around use of these tools. I found that once you get a hang of them they are very reminiscent of utilizing dodging and burning in a conventional darkroom. I rarely use Photoshop for adjustment layers anymore (although this is still an extremely beneficial way of photo editing). I also cropped and rotated the photo slightly from the original, I felt it strengthens the composition somewhat.

The final result, now printed, looks like this:

I've opened up the shadow detail substantially and brought the hill to life as I like to say. The print looks stunning on the Canson paper, I am satisfied at this point (but, never ever 100% satisified ... sigh). Now, it's time to move onto to the next print, number thirty-one, and I will continue my efforts to build my print archive as originally intended.

dargusto@gmail.com (Darren Gust Photography) Alberta Brooks Jensen Canada Darren Gust Epson 3880 Julieanne Kost Lenswork art badlands black and white blog darkroom essay fine photography portfolio print writing http://darrengust.zenfolio.com/blog/2013/4/the-hill Sat, 06 Apr 2013 19:54:40 GMT
Who Am I? http://darrengust.zenfolio.com/blog/2013/4/who-am-i I’m in a reflective mood these days so, after recently purchasing a slide scanner (the Plustek Opticfilm 7400) and reviewing my slide and negative archive from the early 1990's, the timing of this post fits perfectly.

Quite simply, I am a serious amateur photographer. I do not make my living as a photographer but I do sell prints on occasion. For over two decades photography has been a life enhancing passion, something I have invested a great amount of time and money into, something that gives me great joy and, at times, I’ve wanted to walk away from in frustration. But I always come back to it as my main outlet for personal expression.

I took a fairly serious interest in photography in the late 1980’s. I was in my early 20’s and my mom bought me a Pentax point and shoot for my birthday. The camera died on me after a few months of use so we exchanged it for a Pentax SLR, the SF10. It came with a 35-70 AF zoom and I felt I had hit big time with this. The only other SLR I had used prior was my parent’s Pentax ME in the early 80’s, with a 50mm f1.8 lens, for a darkroom course I took in high school. Funny thing was I didn’t really bite into photography at that time, I was curious about it but I was playing guitar and that was my obsession back then.

But with the SF10 in my hand my life changed. I was road tripping a lot and really wanted a camera to capture the moments. This camera upped the ante for me, it just felt right. At that moment a new path opened up and I really wanted to learn how to take better photos.

So I would browse the magazine racks and Outdoor Photography magazine caught my eye. I became a young man obsessed, reading articles from Galen Rowell, DeWitt Jones and George Lepp. I saw Art Wolfe’s incredible wildlife photos and bought his book ‘The Kingdom’. It seemed quite expensive at the time (as all excellent art books were until the advent of Amazon) but I was amazed at the clarity and composition of his work. I wanted to become a nature photographer. I believe my next purchase was ‘The Last Wilderness’, a collection of Canadian nature photography edited by Freeman Patterson, and it was a huge inspiration for me. This book also introduced me to Freeman's other books which taught me to be introspective when taking photos and thinking and seeing like an artist. They were like photography workshops and  I can't recommend them highly enough.

At the time I was shooting colour negative film in my camera and getting prints made at the local drugstore, often disappointed in the prints. I clearly remember seeing the name ‘Ansel Adams’ in a magazine article and was fascinated by his black and white images so I purchased his excellent book ‘Examples: The Making of 40 Photographs’. That was also a life changing event for me. I was now enamoured with black and white photography but wasn’t sure how to go about it.

In 1990 a friend and I took a road trip from our home in Edmonton to Los Angeles. My camera was my new companion, one that would remain with me until the date of this writing. I shot colour negative and black and white. I believe I used Kodak Ektar 100 (for it’s sharpness) and Ilford XP2, my first attempts at black and white. I felt I was a real photographer on that trip, and the camera was the ultimate tool to create a visual diary of our journey.

Bryce Canyon, 1990

Bryce Canyon, 1990

                               Oregon Dunes, 1990

                                Salt Lake City, 1990

Rock Detail, Oregon, 1990


After my return I bought a cheap darkroom setup and eventually moved onto the Saunders LPL diffusion enlarger and I was a man obsessed. Through reading a lot of books at the library and magazines I discovered Harry Callaghan, Ralph Gibson, Cartier-Bresson, Joel Meyerowitz, Mary Ellen Mark, Andre Kertesz, W. Eugene Smith, Walker Evans, Edward Weston, Lee Friedlander. I really ate this stuff up, I couldn’t get enough. I took a few different photography courses in the early to mid 1990's pertaining to lighting, composition and black and white printing.

Armed with a Nikon F3 (colour slide) and FM2 (black and white) I then took a solo trip to Louisiana in 1992 to attend the New Orleans Jazz and Heritage Festival as I loved roots music. But I really had the romantic intent of following in the footsteps of the photography masters I had been studying, travelling as a detached observer snatching glimpses of life through my lens. I was intrigued by the voodoo and charming grit of New Orleans, where the roots of jazz and rock and roll resided, made my way up Highway 61 to Clarksdale, Mississippi to try to feel the soul of Robert Johnson in Clarksdale and back down to Lafayette in the heart of Cajun country. I returned a couple years later to continue what was my first serious portfolio of work, a series of prints that I titled “Distant Rhythms and Soulful Heat: Photographs of Louisiana”. I was woodshedding in my darkroom, trying to make luscious fiber-based prints very influenced by W. Eugene Smith’s methods (including using farmer’s reducer to open up midtones, such a breakthrough!) and I was stylistically influenced by Ralph Gibson’s surrealistic tendancies. I only wanted to do work like this, from my heart, no plan, just go with the flow.

Here is the link to my Louisiana Portfolio

I studied art in more depth and made my way to Europe, very curious to see the great city of Paris, the home of Cartier-Bresson, Kertesz, a city where so many great street photos were made. 

Paris, 1995

Paris, 1995

Florence, 1995


During this photographic journey in my life, a colleague of mine and an excellent photographer who I consider my earliest mentor, Frank Gasparik, arranged for me to be a volunteer photographer for the Edmonton Folk Music Festival, which was an invaluable experience for shooting live music and events. I also started shooting more colour slide film but was frustrated that making prints was not as accessible as black and white was. So when quality digital became affordable in the early 2000’s, I dove in and bought a Canon G2 then a Nikon D70, learning Photoshop and realized how beneficial my darkroom experience was.

Edmonton Folk Music Festival

                            Edmonton Folk Music Festival

Dry Island Buffalo Jump, Alberta 1995

Over The Strait of Georgia, 2008

Buffalo Lake, Alberta 2008


I also came to realize how important the final print was to me (well, is it ever ‘final’? That’s a whole other topic). Be it in book form or on paper in a portfolio or hanging on the wall. As I mentioned in my first blog post, I have always believed the photographic print is the ultimate end medium of expression for the photograph, digital, negative or chrome, and the craft of the print needs to continue to be respected and preserved. I am in the process of printing what I consider to be my best work to date and it’s been an immensely frustrating, challenging but ultimately satisfying process, for many reasons.

The fact of the matter is that my obsession with photography as a medium of expression has never really subsided (well, I admit that I have walked away from it more than once … the expense, both time and monetary, too much computer time, feeling I’ve done enough already). But I’ve always come back to it, it’s good to take a break to recharge now and again. I am also a guitar player, and believe that there are many parallels to the two mediums. Rhythm and tone are very important in both. In the end, in order to have success with any statement one intends to make with any form of art or external expression, there must be some sort of narrative present. And therein lies one of the challenges and continues to be challenging. But, to use a cliché, if it were too easy it wouldn’t be worth the time and effort.

So that more or less sums things up about me, the serious amateur. I hope to learn from this blog, I hope to hear from others and see other work, hopefully I can inspire and be inspired.

Keep on listening with your eyes.

dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Europe Freeman Patterson Gust Louisiana New Orleans Paris USA art biography blog camera darkroom essay photography writing http://darrengust.zenfolio.com/blog/2013/4/who-am-i Sat, 06 Apr 2013 00:04:38 GMT
Blog Post One http://darrengust.zenfolio.com/blog/2013/4/my-blog-christening I’ve been pondering giving this blog thing a go for quite sometime now but I wasn’t sure if I was a skilled enough wordsmith or if I even had it in me to discuss photography at all in a public sphere. It’s one thing to have a website of your work and a whole other realm talking about it and whatever topic I feel I should share.

So, after a bit of thought and reflecting I will try to summarize what the intent of my blog will be and what it will not be (although, like life in general, these so-called parameters will probably change at any time).

What I hope to do is discuss my photography: why I photograph, why I chose a certain subject to photograph, the objectives of my work, some of the technical aspects of my post production, how I will intend to print it. I will say up front that the photographic print is a passion of mine, it is the ultimate end medium of expression and, in this day and age of digital sharing and oversaturation, I strongly feel the craft of the print needs to be respected and preserved. But I am not a luddite and appreciate the internet as a form of sharing one’s work, which should be obvious with this website. I also will discuss the work of other photographers and artists, those who have influenced me and why. Things in life that inspire me be it music, food, people in my life and even outside, the puddle outside my apartment entrance. I may do a book review here and there as I am building a small collection of photography books. 

What I do not intend to do is pixel peep and review gear in much detail. I love my camera gear as much as the next person, I may over obsess over wants vs. needs but, in the end, it’s the final image that counts, the message it conveys, the emotional response that it pulls from the viewer. 

So, thanks so much to take the time to have a read, I am not sure where this is going to go (especially considering the number of photoblogs out there and continue to populate the web), but here’s a clink of the glass to a new adventure.




dargusto@gmail.com (Darren Gust Photography) Alberta Canada Darren Edmonton Gust art blog essay photography writing http://darrengust.zenfolio.com/blog/2013/4/my-blog-christening Thu, 04 Apr 2013 03:49:45 GMT