Alma Mater

crowd cheering at football game

University of Pennsylvania boosters hailed the alma mater at a football game. I used a telephoto lens to compress the crowd, and picked the decisive moment to capture the enthusiasm.

 

The past and the present are closer than we often realize,so I’m going back into the archives to see what I saw long ago First up is this sampling of my documentary photography, a nostalgic collection of How Once We Looked. I’ve selected images that seem memorable, from the perspective of a life spent pursuing my passion. Here’s how the See-Saw collection now appears on Amazon:

http://a.co/4zsuZb2

The Cyclist

the-cyclist

Now I had an advanced twin-lens reflex, when I was fifteen years old and entranced with what I could do in photography. I was at our annual Halloween parade, and film was slow in those days. My Rollei’s lens was f3.5 and there was no way I could stop the action as the rider on an old-fashioned bicycle whizzed by. I did the only thing I could think of and panned with the action.

It was my first attempt at panning, and it added a new technique to my repertoire. It reinforced the learning process of practice and interpretation. And it early on taught me to get in there and react, not to overthink making an image “perfect.”

 

 

The past and the present are closer than we often realize, so I’m going back into the archives to see what I saw long ago. First up is this sampling of my documentary photography, a nostalgic collection of How Once We Looked. I’ve selected images that seem memorable, from the perspective of a life spent pursuing my passion. Here’s how the See-Saw collection now appears on Amazon:

http://a.co/4zsuZb2

Boys

boys in the street
In the Moment

When you’re seeking spontaneity in street photography, you want to keep moving and to keep alert.

My camera was preset for exposure, back in the days when color slide film demanded more precision than digital today. But that’s not the point. What I’m stressing is that this magic moment was just that—a moment—that would have gone by had I not been alert and responsive.

Point being: You can’t stand back and hope something will happen.

 

The past and the present are closer than we often realize,so I’m going back into the archives to see what I saw long ago First up is this sampling of my documentary photography, a nostalgic collection of How Once We Looked. I’ve selected images that seem memorable, from the perspective of a life spent pursuing my passion. Here’s how the See-Saw collection now appears on Amazon:

http://a.co/4zsuZb2

 

A Boy Lost in Play

boy on top of cannon

I call this Reverie, a boy lost in play at Artillery Park in Valley Forge, Pennsylvania. I was out strolling with camera, came upon him out with his grandfather, and moved in until this composition appeared just as his expression put him in another world.

 

The past and the present are closer than we often realize,so I’m going back into the archives to see what I saw long ago First up is this sampling of my documentary photography, a nostalgic collection of How Once We Looked. I’ve selected images that seem memorable, from the perspective of a life spent pursuing my passion. Here’s how the See-Saw collection now appears on Amazon:

http://a.co/4zsuZb2

Art Should Be Everywhere

Art should be everywhere – or so the gallery site Daylighted declares. As part of this tribute, Daylighted recently chose me as its featured artist of the month.

Daylighted is a service that places visual artist into non-traditional exhibition spaces such as hotels, restaurants, coffee shops and more. It seeks to “change the way you see art. Daylighted transforms places…into digital art galleries and offer[s] them an opportunity to easily display and sell an exclusive collection of art from worldwide and local artists.”

Daylighted featured my nostalgic photography, including the images in my updated monograph: “See Saw: How Once We Looked.”

Sports team
Celebrate

You can view and purchase more images on the Daylighted site, at: https://www.daylighted.com/explore/artist/MichaelPhilipManheim

These images reflect my overall fascination with movement as well as with light, that showed in the photographs I created in my early teens. I see that I developed reflexively and intuitively, in capturing the essence of a moment. I see that the innate compositional sense expanded into a style. And so on, all insights offering me a chance to pause and reflect as I go forward.

See-Saw, A Sampler of How Once We Looked, is now available for purchase at Amazon.com at this link: http://a.co/fSP97AQ

What Gives A Picture Life? Beyond Empty Photographs.

I see too many empty photographs passing for art these days.

Too many empty photographs are passing for art these days. I want images with life and meaning, action and humor. I want them to capture life, to be alive:

Freaks. A picture with energy and movement rather thann bland, empty photographs

George Eastman created a world of photographers in 1888 with cameras that lived up to the slogan, “you press the button, we do the rest.” Perhaps today’s cameras are too easy to use. Point and shoot techniques can lead to empty, lifeless photos. I want to take the concept of picture-taking one or two steps further, from merely taking pictures to making photographs: composition, lighting, finding that decisive moment. I rebel against decision makers who influence collectors into thinking that barren photographs are fine art.

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