Farm And Corn Field


I grew up in the city. My grandparents lived in the country, about thirty miles from us. We visited them most Sundays, year round, from the time I was born through high school. Although this is not a picture if their farm, it brings back vivid memories it.

Topping the list of the downside of going to grandma’s house was the two-hole outhouse (Who ever thought two holes was a good idea?) with pages of the Sunday Supplement covering the walls, spider webs in the dark corners and, well, the odor. When I was little, I had to be convinced that I wouldn’t fall in and nothing would come out of there to bite me in the butt. Because the house was heated by a wood stove in the back room, aided at times by the kitchen stove, the downstairs was warm enough in the wintertime with sweaters on, but I froze upstairs, napping under three or four blankets with my clothes on. With the exception of my father and me, the men in my family were very much into sports and cigars. So while they were watching “the game” and the women played cards around the kitchen table, it fell to my dad and occasionally my aunt, to keep my sister and me occupied. And that leads to the upsides.

My dad took us on walks to the nearby Clermont County Fairgrounds, where we would wander around the empty livestock stalls and climb the steps of the grandstand that overlooked the oval buggy track. In the summertime we would go to the corner market where, out in front, there was a bin where we reached in and fished among the blocks of ice for a bottle of pop.

At Thanksgiving and Christmas the main event was, of course, the meal. The scene in the dining room was straight out of a Norman Rockwell painting. Grandma was known for her cooking, so the long table was pulled out even further to accommodate all its leaves, and extensions were added as needed. There could be fifteen or more people seated around the table, passing turkey with stuffing, ham, mashed potatoes and gravy, green bean casserole, corn, peas, carrots, cranberries… Then came the pies, always cherry, apple and pumpkin. Years later I realized that grandma had been making everyone’s favorites.

I took a lot for granted when I growing up. I thought everyone did what we did and had what we had. Now, I’ve grown to respect farmers especially. It took a long while for me to realize that food doesn’t come from grocery stores. I’d like to think it comes from fields like the one in the above image, planted, nurtured and harvested by people who respect the land and care about the health of the people they will feed. But I understand the “business” of farming is very different. I read and observe that small farms are on the rise and increasingly trending toward more healthy and sustainable practices. And greater numbers of people are supporting them. For all these folks and their initiatives, I am grateful.

My daughter, Jennifer Miller, has a blog for parents who are actively supporting kids’ social and emotional development. I thought I would share two quotes from her blog on gratitude. For more, visit: <> I recommend it, not just because I’m her dad. But because the content is always insightful and practical. She has over over 20,000 followers.

Research shows that grateful people have better physical health, less stress and depression, better sleep and a greater sense of well-being. The Templeton Foundation found that 90% of people say they are grateful but only 52% of women and 44% of men express it on a regular basis.

One of Jennifer’s colleagues

As we express our gratitude, we must never forget that the highest appreciation is not to utter words, but to live by them.

John F. Kennedy

About This Image

Title: Red Barn And Corn Field

File #: DC5729

Location: Sabina, OH

I like to photograph after a heavy snowfall. It affords the opportunity to shoot in high key. Particularly exciting is to shoot in bright sunlight when the ground is covered with fresh snow. It’s a challenge in two particular ways. First, it’s a race to shoot while the snow is pristine. And second, all that whiteness tricks the exposure meter whether it’s built-in or separate.

Exposure meters interpret what they “see” as middle gray—in order for the image to contain the full range of values from black to white, even in color photographs. That’s what meters are designed to do. So if you point your camera at a field of snow, it will render it gray in the photograph. Of course, this can be fixed in editing, but that degrades the resolution somewhat. Better instead, on location, to determine the exposure by using a standard photographic Gray Card, or set the camera to “Manual” or “P” for professional mode and point it at something that’s neutral gray. That way, the snow comes out white.

This photograph was made toward the end of the day when I “lost” the light. I was disappointed at the time. But now I think the gray sky with only a hint of blue adds to the sensibility of the cold that day. I was wearing gloves and a hat. Sometimes, when conditions aren’t optimal, it’s a good thing.

I invite you to visit my portfolio site: David L. Smith Photography



On the evening this photograph was made, the dominant sound in this airport parking lot was birds—a stark contrast to the busyness and clamor of cars, shuttle-busses and conversations that once pervaded it day and night for several years. The difference between the activity then and the serenity I experienced is heightened, I think, because the central structure existed, literally, to provide shelter. Ironically, the emptiness of the space in this image sort of fulfills the site’s purpose aesthetically by conveying the sensibilities of rest and peace.

The emptiness and quiet of the landscape encourages me to reflect upon its elements. Had there been cars, shuttle-busses and people in the photograph, my attention would have been drawn to the human rather than physical aspects of the image. Instead, the simplicity of elements and the long shadows direct my attention to the expanse of asphalt. I think of the forest it must have replaced, the animals and birds that were displaced, the mountains of sand and gravel, oil and paint that were used in its construction. It’s not that I object to this use of natural resources. I don’t. Building is what we humans necessarily do—it’s the activation of energy that flows from the desire to create and advance.

In addition to the raw materials that it took for this landscape and shelter to exist, I appreciate the army of individuals who envisioned, designed, leveled, supplied and built them, including the electricians who wired it for lighting and those who manufactured the glass and aluminum. Having traveled in countries where paved roads and electricity were barely functional, this facility stands as a testament to the power of collaboration.

The emptiness of a space designed to facilitate the movement of lots of people has a haunting quality. Not in a spooky way, but in the sense that purpose here is at rest. Potential. And because everything looks fairly new—no weeds pushing up through the asphalt, no fallen light poles or broken glass—there’s the hope of renewal. (And that hope has recently been realized. Today, this parking lot is back in action).

In serenity we touch impermanence, ebb and flow, rising and falling, coming and going. It gives rise to peace and quiet, the place in us where purpose discovers its most appropriate and creative action. In the state of potential, all things are possible.

The more tranquil a man becomes, the greater is his success, his influence, his power for good. Calmness of mind is one of the beautiful jewels of wisdom. 

James Allen
About This Image

Title: Airport Shelter

File: 998

Location: Wilmington, OH

I took an overnight visit to Wilmington, Ohio because the wide open fields provided an opportunity to use my 4×5 view camera. The airport had been a huge sorting center for DHL until the shipping company moved elsewhere in 2009. When I visited in 2011 there was very little activity, no planes flying in or out. Thus, the absence of people and cars in the parking lot.

Arriving in the parking lot just moments before sunset, I saw the cast shadows, stopped the car and worked quickly to set up the tripod and change the lens. If the sun went behind the trees, the streaming effect would be lost. The process was anything but serene.

The 90mm wide angle lens distorted the light poles considerably, especially at the edges. So I made the vertical correction in Lightroom. By doing so, some of the bottom of the image was lost. But I decided to sacrifice even longer shadows in the foreground for the lack of distortion.

I invite you to visit my portfolio site: David L Smith Photography

The Ladder Of Success

Construction Ladder


Personally, spiritually, professionally, economically, socially, and politically we’re all climbing ladders toward “success” in these areas. What prompted the selection of this image for contemplation was hearing someone in a television commercial ask, “What do all artists seek?” His answer: “Recognition.” Ugh! I couldn’t let that go.

Did Michelangelo sculpt and paint to be recognized—or for money? What about Vincent Van Gogh or any of the masters of Western and Asian civilizations? Twenty-first century, Western culture is so saturated with materialistic, end-product and celebrity values it’s hard for us to imagine anyone defining success as other than fame and fortune.

Case in point: My wife, Linda, observed that in her English class discussions of forty years ago, her students said what they valued most was “making a contribution.” Ten years ago the consensus was that they wanted to be known. Famous. The latter perspective was echoed in my own teaching.

Since we largely define success for ourselves—consciously or unconsciously, I thought I would share some of the observations on the subject that I collected as quotes. Before presenting them, however, a perspective that I feel is important and missing from the perspectives below is that success for many people is achieved more through process than product, particularly when the activity is aligned with one’s personal purpose, their reason for being here. As noted on the home page, I write and photograph to feed my soul. Anything that may come of it for others is just “icing on the cake” to me. I don’t think I’m alone in this.

To laugh often and much; to win the respect of intelligent people and the affection of children; to earn the appreciation of honest critics and endure the betrayal of false friends; to appreciate beauty, to find the best in others; to leave the world a little better; whether by a healthy child, a garden patch or a redeemed social condition; to know even one life was breathed easier because you have lived. This is the meaning of success.

Ralph Waldo Emerson


My mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.’ Instead, I was a painter, and became Picasso.

Pablo Picasso


History has shown that the success of cultures and even of great civilizations is measured by the way they deal with crises; the greater the challenge, the greater the opportunity for positive response. The same is true for individuals.

George Leonard


Individual success depends on environments that trigger the fulfillment of our genetic potential. Environments that motivate through fear literally shut down the potential for growth. Those that motivate through vision, open us up to express unforeseen possibilities.

Bruce Lipton


The key to modern success is human resources. How well you educate, train, and treat people in your society becomes more important than the coal you dig, trees you fell, or rivers you dam.

Herbert Striner


We now have the technology, the resources and the know-how to make this world a 100% success for every human being on Earth.

R. Buckminster Fuller


The soul of an enterprise bonds it together as one force giving it identity, purpose, direction and a reason for being… Many pooh-pooh the reality and value of soul in the corporate world but it is truly amazing how, given the same business circumstances, some companies do so much better than others. It is not soul that assures success, but it is the presence of soul that unifies the mission to achieve success… Companies with soul never lose sight of one thought – If you are not making history, you are history!

Bob MacDonald


Try not to become a man of success, but rather try to become a man of value.

Albert Einstein


May your holiday season and beyond be filled with joy, love, peace and health. And success.



About The Blue Ladder Image

File #: DC669

Location: Columbus, OH

Not much to report. Walking the upper part of High Street in Columbus, Ohio, looking for things to photograph, I came upon a construction site. I saw this, took the shot and moved on. What I take from this is that evocative images don’t always require travel, special equipment or techniques. To quote Henri Cartier Bresson who, when asked the secret of his success as a street photographer, replied “Be there and f8.”

Growth As A Spiral

Nautilus Shell


The chambered nautilus is a creature that inhabits the Pacific and Indian oceans, today between depths of 600 to 1200 feet. Appearing in the fossil record before fish, dinosaurs and mammals, some 500 million years ago, they grew up to 20 feet long! The spiral occurs as walls are formed to seal off and make chambers to regulate buoyancy. As displayed here, the spiral moves me to considerations of human growth and development and beyond.

In the shell’s central spot I see the point of creation and emergence, be it the womb of an individual mother, our Earth Mother or dark energy at the beginning of the universe. It can represent any beginning: the birth of a project, career, a new direction in life or the birth of a nation. With movement, the spiral begins, not as a straight line, but as a curved one. Largely because clocks tick off present moments, we think of time as a straight line between yesterday, today and tomorrow. But indigenous peoples all over the world perceived time as a spiral, repeating periods marked by the regular “journeys” of celestial bodies—gods that were given names and personalities. For instance the ancient Maya—whose calendar was derived solely by observation and is accurate to within decimal points of our own—made detailed charts to indicate what happened in various cycles so the same or similar experiences could be anticipated on the next occurrence of the cycle. Researchers today refer to these periods as “calendar rounds.”

Movement gives rise to form—cells, walls in the nautilus shell, dark matter, stars and galaxies in the cosmos, knowledge in human beings, cities and governing constitutions in nations. Personally, I think of how many different people I have been since I became aware of myself as an individual. Form after form, experience after experience, role upon role, as interests, people and opportunities came and went, my personality and priorities evolved. I’ve often said, “On this turn of the spiral…”—I see things differently. I no longer believe “X” or want “Y.” With experience and education the chambers of consciousness and perception widen, become more expansive. It’s a process of reaching outward while remaining  connected, grounded perhaps. More boyant. All that came before is not lost, is present still, contributing to the next, more expansive part of “me.” As with everything in nature, growth and development is never a straight line. It’s a spiraling ascent. Rounds that come around, opportunities to examine and do better than repeat.

All evolution is a dance of wholes that separate themselves into parts and parts that join into mutually consistent new wholes. We can see it as a repeating, sequentially spiraling pattern: Unity—Individuation—Competition—Conflict—Negotiation—Resolution—Cooperation—New levels of unity and so on. 

Elisabet Sahtouris

About This Image

Title: Nautilus Shell

File #: 635

I have long been attracted to “high key,” photographic images where the dominant tonalities tend to the light and bright side. The opposite is “low key” where most of the image contains dark or black tones. Although I work in both modalities—and in-between—my aesthetic tends to favor the former.

This shell, a gift from my wife, had a beautiful spectral quality to it. On the outside, the silvery white surface, when held at an angle, revealed a rainbow of colors. Inside, the white quickly graded to deep yellow. To get these dark colors to render in high key, I first set the shell on the light table under my camera stand and positioned photoflood lights on both sides at a rather high angle. That brightened the shell and created a lot of contrast—just what you don’t want for high key. So to get rid of the deep shadows I put diffusion material over both lights. That softened the shadows considerably. Next, using a voltage regulator, I lowered the wattage of the lights so—according to my light meter—they closely matched the luminance of the light table.

With the luminance value of the shell and background fairly matched, the final step was to determine the exposure. For this, I used a standard Kodak Gray Card which has 18% reflectance. Had I taken the reading from either the shell or the light table or both, the film would have registered the full range of tones, black to white, in spite of my lighting efforts. So, by exposing for 18% gray, the film registered everything as white. Bright. The negative was dark, so in the printing I could enhance the high key through less exposure to the paper. A little underdevelopment of the film also helped to lower the contrast.

I invite you to visit my portfolio site: David L. Smith Photography

As Above, So Below



One of the benefits of a photographic image is that it presents us with a moment, usually a fraction of a second, and holds us there the better to reflect and appreciate the subject matter.

The live scene or situation in front of the camera is part of our continuous experience, so mentally and physically we’re always on the move with respect to it. We give it fleeting attention. Ah, nice forest, we think. Beautiful trees! And then we’re on to the next thing. Thoughts change. We loose interest. We become distracted. And the scene changes.

But when we sit with an image of that scene, the act of focused attention promotes the inner assimilation of the subject matter—in that captured moment. Spending time with a beautiful image can have the same, albeit more subtle, effect of recharging our batteries and resetting our priorities, like when a person spends time in nature or goes on a retreat. We especially recognize these benefits are occurring when the experience or observation produces an inhale, a deep “breath of fresh air.” It’s an indication that we’ve made a connection, tasted the Ultimate Reality, and all is well. A bit of the life force has been assimilated.

Beyond assimilation, there’s more to be gained by contemplating an image. For instance in this image the colors are beautiful and they mark a transition from one season to another. But what else is going on? Are there meanings to be gleaned beyond the surface appearance? One consideration was the nature and source of color, how it’s a mental construct based on a complex of wavelengths, surface characteristics and other parameters. I also thought about the diversity of different species of trees and how they blend together to create a “symphony” of harmonizing colors, forms and textures. I wanted to go deeper still. Might there be a metaphor for life or living?

The ancient adage came to mind: “As above, so below.” Man is a microcosm reflecting the macrocosm in his being. But here, it doesn’t quite hold. The reflection on the water is not a detailed or even accurate representation of the forest. Nonetheless, it is complimentary. And it generates a unique aesthetic experience. For instance, when I put my hand up to the screen and crop out the trees, the “message” is still “forest” in the reflection, but now it includes a sense of blending, merging, motion, and unity. The forest reality (consciousness) is constituted of many trees (individual thoughts). Whereas the reflection of that reality is whole, a unity of diverse species and colors, a blending of thoughts and memories.

In the “above” reality, there’s a sharp and clear transition between the individual thoughts and the sky. In the “below” reality—reflection—the “thoughts” are blending, shimmering and dissolving into the sky.


As above, so below.

Hermes Trismegistus

About This Image

Title: Autumn Pond

Location: Shelby, Michigan

File: DC 6844

I took an extended trip to photograph in western Michigan. To prepare, I did a great deal of research to find a destination that was within one day’s drive to where the color of the trees would be peaking. The weather forecast was for four days of sunshine there. So I packed up my three cameras, eager to shoot both black and white film and digital color.

As the saying goes, “If you want to make God laugh, tell him your plans.” I drove a full day in the rain, expecting to have the four days of sunlight ahead of me. You guessed it—it drizzled or rained the whole time. The clouds only parted for about two hours on the last day.

Still, the trees were awesome—as the above image demonstrates. One of the benefits of cloud cover is reduced contrast, meaning the highlights won’t “blossom” or blow out as they could in bright sunlight. And that lack of contrast can easily be compensated for in Lightroom or Photoshop. In the above image I increased both the contrast and the overall saturation. Another benefit of bad weather—for both color and black and white—is atmosphere. While Fall colors “pop” in bright sunlight, overcast and dark clouds can contribute to mood. When it rained so hard I couldn’t get out of the car without getting the cameras wet I drove at a crawl and just appreciated what was there.


Morning Glory

From universe to “nanoverse,” one of nature’s most common structural features is “branching.” Networks of all kinds, physical and intellectual, are grounded in a pattern that chemists refer to as “child” (smaller channels) and “parent” (larger) branches.

At the human level we see it in living systems—the brain, arteries and veins, leaves and trees. Branching occurs in chemistry, for example, when carbon atoms are cross-linked to form the hard plastic used in safety glasses. Branching made computers and the Internet possible. Flying at night we can clearly see the extensive branching of highway systems. Railways branch. There’s branching in mathematics and geometry. And we speak of “branch libraries” and businesses with branch offices and facilities. The phenomenon occurs wherever there is connection and flow—cities and suburbs, electrical systens, plumbing and sewer systems, streams and rivers, erosion, sand dunes and musical tunes. It’s everywhere.

Reflecting on the above image, I observe order within the chaotic, irregular lines. There isn’t one straight line, and no two of them are alike or even aligned. Yet there is cohesion, functionality and aesthetics. Systemically, I see the “parent” channels carrying water and nutrients to “child” and sub-offspring channels throughout the leaf. A microscope would reveal that each of the barren looking “fields” in between channels actually consists of a myriad of more interconnecting and intercommunicating cells. For me, the intricacy and complexity of these connections and flow channels triggers a deep appreciation of this universal design pattern—seen on other celestial bodies—one that is economical, resilient and life-supporting.

I also appreciate the pattern’s grace and harmony. Absent the color, and knowledge of the subject, one could imagine an extensive farm land with interstate highways, roads and lanes running through it. Zooming in would reveal a heavily populated area with living, thinking, decision-making beings—individual cells that have unique needs, wants and aspirations relating to survival, development, personal space and relationships. And they function together in harmony, as a whole! There are no battlefields, no indication of intolerant, greedy or power-hungry cells. On the contrary, the visual evidence alone points to a system where sharing and collaboration are occurring throughout the field. Bring back the color and the overall fied is verdant—alive.

Might this pattern and process, which appeared on the Earth about 130 million years ago and is still viable today, suggest something to the way human social systems work most effectively?


The vigorous branching of life’s tree, and not the accumulating valor of mythical marches to progress, lies behind the persistence and expansion of organic diversity in our tough and constantly stressful world. And if we do not grasp the fundamental nature of branching as the key to life’s passage across the geological stage, we will never understand evolution aright.

Stephen Jay Gould

About This Image

Title: Morning Glory Leaf

File: DC 1102

Throughout the summer months, an enormous Morning Glory plant climbs a wooden lattice in our back yard. One clear and sunny day I saw its leaves backlit and exclaimed, “Wow!” I had a choice photographically: get my camera and shoot the leaves outside, or take a leaf inside and shoot it under more controlled conditions.

I’ve been consciously looking for and photographing examples of branching for many years. So when I saw this example, particularly with the white lines being so prominent, I decided. To maximize the branching pattern, and minimize both the surface and texture, I set the leaf on a light-table and weighted it down with a piece of glass to smooth out the wrinkles. With a macro lens on a digital camera I composed and took the shot using only the backlight. This particular leaf was magnificent, about ten inches wide. To enhance the white lines, I increased the overall contrast and boosted the highlights in Adobe Lightroom.

I invite you to visit my portfolio site: David L. Smith Photography


Vibration, Resonance And Synergy

Vesica Piscis


Take the full range of individual piano tuning forks and stand up them in a row. Take another one, unmarked, and strike it with a mallet. Of the many forks, the one that sounds will matche the unmarked fork—and identify it. For instance, f-sharp only sounds when it “hears,” or resonates with, the f-sharp frequency. All the others frequencies remain silent. Like attracts like. And like responds to like. I originally made this photograph to see if I could visually convey the sensibility of vibration. Now, it points me to considerations of resonance and synergy as well.

Two discoveries in quantum physics come to mind. One is the observation that all sub-atomic “particles”—electrons, photons, quarks and so on—are actually interacting and vibrating “fields” within fields. Not solids. None of them, nowhere. The other is the more recent discovery of the Higgs boson, the sub-atomic field scientists believe gives matter its mass. Combining these, Dr. Donald Lincoln, a particle physicist who divides his time between Fermilab and CERN in Switzerland says, “Everything—and I mean everything—is just a consequence of many infinitely-large fields vibrating. The entire universe is made of fields playing a vast, subatomic symphony.”

The description of vibrating fields calls to mind an experience I had where the “vibes” were so resonant they induced synergy, a circumstance where the whole (outcome) was greater than the sum of its parts (participants). In this instance, an astute television producer together with a multi-talented actor who had a vision, assembled a team of like-minded, skilled and creative people to produce a weekly children’s television series that would encourage parents to watch with their children and discuss its themes. Long story short, the thirty-nine episodes of “Max B. Nimble” accomplished its goals, had a long play and won national awards. In many ways, it exceeded expectations.

It wasn’t until much later that I appreciated how this producer, call him Oscar, created a resonant team capable of synergy. Reflecting on his methods, I began to see that they reflect the way nature works. All of nature vibrates and interacts in ways that contribute to cohesion. In a social or business context, it’s the quality of interaction, the personal expressions—fields within fields—that contributes to coherence. To clarify, I offer Oscar’s methodology.

He identified and brought on board the most talented people he knew. In our first meeting, rather than have us introduce ourselves, he went around the table, presented our resumes and made glowing remarks about each one of us. Feeling like we were in the company of giants, we had to live up to his descriptions, which set the bar high and established the collective vibration. His articulation of our objectives were clear and inspirational. To insure that we all understood the nature of the communication challenge, he included a scholar who helped us put theory into practice. I for one, wondered if we could pull it off.

From day one, the process of writing and producing was intensive and exhilarating. We pushed ourselves and each other to perform at our highest levels. Every day. And we loved doing what each of us did best. The entire team met for daily script readings. We had weekly meetings where every detail was discussed—down to the sandbags that secured the light stands so people wouldn’t trip over them. No detail was too small for consideration—and elaborate discussion. Every day we were eager to get to work. And at the end of the day we convened to review what happened and especially, screen what we produced.

With each presentation there was praise, applause, and toasts when things went right. When they didn’t, rather than blame or criticize, the energy went into finding solutions. In this way we could see our progress and how each of us was contributing, thereby fueling our creative fervor even more. Oscar championed the best—advisors, talent, crew, resources and technologies—and he convinced each one of us that what we were doing was both meaningful and significant. As a result, we took ownership of the vision and responsibility for our part in realizing it. Every day for nearly two years, we went to “play” with our colleagues, many of whom became long-term friends.

Rupert Sheldrake, who developed the theory of morphic resonance (The theory that memory is inherent in nature) wrote that “Energetic resonance occurs when an alternating force acting on a system coincides with its natural frequency of vibration.” Applied to a small group with a goal, people in resonance, in love with a vision and engaged in its collaborative realization, naturally become synergistic. As a vibration, love and being appreciated makes us capable of transcending individual limitations. Besides the bonding that results, participating together in joyful enterprise heightens our faculties and encourages us to realize our fuller potentials.

High performance techniques and processes, including the “Six-Sigma” techniques used in business to identify and remove the causes of defects and breakdowns within an operating system, result in outcomes where one plus one equals a qualitative two. Clean and neat; outstanding accomplishment when it happens. But rigorously speaking, synergy isn’t about high-performance, it’s about transcendence through coherence and resonant engagement. And when that happens, one plus one equals five. That’s its signature.

Here’s the formulation in a nutshell:

Everything vibrates.

Like vibrations produce resonance.

Resonance activated and directed to a common goal can produce synergy.

Synergy, through coherence, is capable of transcendent outcomes.


Synergy requires a circle of equals in resonance.

Carolyn Anderson

About This Image

Title: Vesica Piscis

File #: 453

One of the fundamental shapes in nature and therefore a component of “sacred geometry,” is the vesica piscis (Latin for “Bladder of a fish”). It’s the space between two equal, intersecting circles. We see it when two ripples in a pond intersect. Historically, it was a symbol with a multitude of meanings in many cultures and was used extensively in church and civic architecture. We see it in jewelry and crop circles. You might even have it in your wallet—the MasterCard logo.

Wanting to make this shape in a way that would convey the sensibility of vibration, I took a heavy gauge steel guitar string and secured it at both ends with heavy-duty clamps. With the string centered in the frame, I positioned a light and “flagged” off the background so it wouldn’t record. I critically focused the camera, set the shutter speed to “T” for time exposure and made the room totally dark. Then, using a cable release, I opened the shutter and gave the guitar string a good tug.

I invite you to visit my portfolio site: David L Smith Photography

Models And Modeling

Boy Watches Man In Doorway

Joseph Chilton Pearce, a respected author on the subject of brain development, wrote that a child’s capacity to operate in the world is determined entirely by the models he experiences in everyday life. He observed that all human intelligences—music, math, art, logic, mechanics, even emotions and intuition—are built into us genetically at birth. As potentials. “Their awakening,” he says, even for adults, “requires stimulus from the external world, from someone who has developed that intelligence to a functional level.”

This was certainly true for me. For you as well? Had I been able to interact with a practicing fine art photographer or motion picture director early on, I could have begun to awaken my visual potentials—and careers—that much sooner. Instead, in my youth, I resorted to the only resources at hand—books and magazines, which were highly inadequate. Learning theory says we learn best from having behavior modeled and reinforced, by seeing someone do what we want to do. And, it cultivates the confidence-building attitude, “If she can do it, so can I.”

Having taught at the university level and managed a television production facility for twenty-six years, one of the most important lessons I learned about teaching was to acknowledge and celebrate a student’s potential when it shows up, and then feed it by providing face-to-face, first-hand experiences in that area. I can’t overestimate the extent to which so many of my students benefitted from visits to television stations, commercial and corporate video and audio production facilities and post-production houses—and the professionals who came to class to speak. In addition to subjecting students to working professionals, “real” world models and environments, I encouraged them to introduce themselves and build relationships with these people, and many students gained internships and jobs that way, even developed careers in the field as a result.

The child in the above image, observing the behavior and possibly hearing the conversation between the adults has momentarily diverted his attention away from the toy car. It’s just a moment. But the triangle of attention speaks to me of the significance of modeling, particularly for children. It raises the social question: What are we exposing our children to? And it challenges me to address personal questions: Who and where are my models? Where do get my inspiration? What social and media experiences empower me to live more authentically? What are my potentials? Which of them do I want to nurture? Am I appropriately prioritizing them? What am I modeling for those with whom I interact? This kind of questioning has undoubtedly helped me discriminate between distraction and purpose.

In part, I choose this image and theme because of the domestic and ideological violence being reported in the news lately. In all these instances I watch and think about the children being exposed to models of dysfunction, young minds whose potentials are being radicalized, neglected or suppressed. I’m reminded of Buckminster Fuller who, after I’d produced a program featuring him, took my hands and said, “Keep on doing what you’re doing, young man. We need more of this kind of (constructive) programming.” It was he who wrote that, “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” Indeed, create a new, more functional model.

Children have never been very good at listening to their elders, but they have never failed to imitate them. 

James Baldwin


About This Image

Title: Boy In Doorway

File #: 012-A5

On lunch hours when I worked for Brand Studios as a technician in their color lab, I often drove the extensive and old German neighborhood known as Over The Rhine in downtown Cincinnati. No matter the weather, I would keep the car windows down so when I saw a potential shot I could stop and shoot without the interference of glass. For two years, I “cruised” the area looking for interesting faces and situations, shooting with a telephoto lens on a 35mm camera. If someone saw me or scowled, I just put the camera down and drove on.

I didn’t have to worry about copyright infringement because I wasn’t shooting for profit or publication, not even for exhibition. Besides, a release form is only needed when the photographer directs the subject in some way.

I remember this particular circumstance like it happened yesterday. I’d stopped at a red light, observed the situation through the passenger-side window and took the shot. The light changed to green, but seeing that there were no cars in back of me I exposed a few more frames. As it happened, the first frame was the best.

Whenever I think about street photography, I’m reminded of Henri Cartier-Bresson who was asked: What’s the secret of your success as a street photographer? He replied, “Be there and f8.” So true, especially when photographing people. You have to BE THERE, with a camera, in order to capture “the precious moment.”

I invite you to visit my portfolio site: DavidLSmithPhotography.

Everyday Beauty



When I hear “Beauty is in the eye of the beholder,” I take it to mean that some people find beauty where others do not. An artist friend who designs and sells jewelry once remarked that he made it a practice to experience beauty every day. I thought that was wonderful. But between work and family life, the only time I found available to search for beauty was when I was out with a camera looking for it.

Searching for opportunities to compose elements within a frame in ways that fed my aesthetic hunger, I frequented scrap yards, construction sites, abandoned buildings, tractor-trailer grave yards, empty fairgrounds and musty antique shops. As a consequence of creating order out of visual chaos, I was experiencing beauty in unconventional places and subjects. I first noticed this when I realized that I didn’t need to go to the beaches, national parks or anywhere else to experience beauty. It was at hand. To transform an ugly or ordinary object into a beautiful one, all I had to do was to decide to see it that way—with or without a camera.

My interest in “beauty” as a subject has been an evolution. As a child, I thought certain people, places and things were intrinsically beautiful and others were not. Through readings and formal education I learned that beauty is subjective and it varies widely between individuals. Camerawork taught me that beauty can be manufactured, as when we light or arrange objects in a more pleasing way. And that by deliberate choice, an ordinary object can be transformed into something beautiful. Actually, that was my job as a producer-cinematographer for television stations, often challenged by advertisers to make their everyday products—like sheets and pillow cases, watches and toys—look beautiful.

Of course, beauty is such a subjective experience it cannot be defined. Nonetheless, each of us can, with contemplation, find some language that will help us better understanding its place in our lives. For me currently, the experience of beauty presents me with feelings of joy and harmony, sometimes awe. I think it comes, mostly at a subconscious level, from attunement to nature’s design principles.

The above image reminds me that beauty can be found everywhere we look—even the kitchen sink. And I can predispose myself to experience it by choosing to see it in everyday places and objects. Beauty is not only something to be found, it’s something to be receptive to—and make.

It’s not what you look at that matters, it’s what you see.

Henry David Thoreau

About This Image

Title: Kitchen Highlights

File: DC10

Each spring, the sun comes through our kitchen window and sprays these highlights onto the backsplash above our sink. All I did was turn the faucet a little to maximize the width of the “spray.”

Whenever I see something and the thought comes to mind that it would make a great shot, I try to get a camera and photograph it. Doing so enhances the experience and makes it last. Moments of beauty, no matter how subtle, are precious.

Linda is a master in this regard. Regularly, she’ll place a shell, a blossom or a stone that she picked up and place it in a bowl to be displayed on our kitchen table. I can’t count the number of times I photographed these little gems. As I write, there’s a red maple leaf gracing our table in a saucer of black china.

Nature’s Design Principles

Winged Red Maple Seed


Over time, a species of tree that evolved into the maple did so in part because it succeeded in finding a way to disburse numerous seeds over a greater distance. As kids we called them “pinwheels” or “helicopter seeds.” Hedging no bets in the area of reproduction, between 12,000 and 90,000 of these seeds can fall from a single tree in one season.

In this image I see a delivery system, a “package” perfectly designed to accomplish its mission. The heavier bulb containing the seed responds to gravity, pointing downward so it can penetrate the ground, while the aerodynamic “wing” system takes advantage of the wind to disperse the seed beyond the tree’s roots where it can germinate in fresh soil with the added advantage of increased sunlight. The design alone increased the odds of successful reproduction.

Because creation begins with imagination, when I think of seeds, I think of ideas. Of the number of ideas I’ve had, relatively few passed beyond germination. Fewer yet reached maturity. With time and experience we become more selective in our wanting, but how is it that some goals, even when pursued with passion and persistence, do not come to fruition? Two examples, one from business the other from teaching, come to mind for me, both of which—in hindsight—provided the same simple but profound lesson: Apple trees don’t grow from peach seeds. They are both fruit trees, but their inherent designs, growth needs and strategies are very different.

If I were king of the world, students would be exposed to nature’s design principles and strategies before they graduate from high school. Like many of us with vivid imaginations, I generated many ideas about what I could do and what I wanted to do. Had I known, even metaphorically, that ideas and initiatives grow organically from the ground up (not the top down), from seeds (ideas) planted in soils rich in nutrients (money and resources) with lots of sunlight (intelligence and wisdom) and caring hands (a collaboration of peers), the ideas mentioned above would likely have blossomed. Instead, they now reside in folders in my “Uncompleted Projects” file drawer.

On the other hand, perspective: had those ideas manifested, I would not be the person I am today. And although those ideas still tug at my heartstrings, I consider myself better off for having learned what doesn’t work. Certainly, had either idea matured my lifestyle would have been chaotic. I needed to learn some very important lessons by missing the brass ring. And that’s perfect. Still, had I understood something of nature’s design principles and strategies, I might have directed my attention differently.

In our consciousness, there are many negative seeds and also many positive seeds. The practice is to avoid watering the negative seeds, and to identify and water the positive seeds every day.

Thich Nhat Hanh

About This Image

Title: Winged Maple Seed

Theme: Nature’s Design Principles

File #: 732-C2

There are many times when an object of interest can best be photographed under controlled conditions of lighting and background. So one of the best tools a serious photographer can have is what used to be called a “copy stand.” Basically, it’s a device where a camera can be fixed to an adjustable arm that moves up and down so it can be positioned closer or farther away from the subject. The option of bringing objects home to photograph expands the possibilities of subject matter.

For this image, I put the seed on a piece of glass with white paper beneath it and positioned photoflood lights on both sides to light the paper evenly. With a macro (close-up) lens on my camera I was able to come within inches of the seed and fill the frame.