Petrified Forest National Park Art Collection

[Kirk Gittings]

So last fall I was in an exhibit in Winslow AZ of former Artists-in-Residence from the Petrified Forest National National Park. I couldn't get to the exhibit as last fall was unbelievably busy. I heard it was very good. Visitors to the show were asked to pick one artwork to add to the permanent collection of the park. I'm honored to report that they picked this image of mine, "Walking Rain" 2013. I set up and waited many afternoons at this site on Blue Mesa as these focused thunderstorms rolled through this extraordinary landscape waiting for something amazing to happen.

Also two large versions of this are on permanent exhibit in Santa Fe. One is at the Santa Fe Mini Cooper dealership boardroom and the other is part of the Santa Fe Public Art Collection.

120 Nikkor SW, Phillips 4x5, B&W Orange filter, Ilford FP4+ 4x5 film, Pyrocat HD developer.

[Drew Wiley]

Yes, it's classic Kirk, for sure. Lovely shot. I've only taken color there, but was reminiscing to some co-workers yesterday about getting cussed out by a Brooklyn
couple that locked their keys in the cars after seeing my Sinar propped up overlooking Blue Mesa, walking over, and being disappointed that there was no "deah" or "beah" in the scene.

[Kirk Gittings]

Thanks Drew. "deah" or "beah" what language is that?

[bob carnie]

That's quite a lovely image Kirk- mind blowing actually

I am not big on landscape but this one is exceptional it looks like a nuclear blast taking off.
good job

Bob

[Drew Wiley]

Deah and Beah is Brooklyn accent for deer and bear. Because it is a Natl Park, they apparently assumed that I was photographing either a deah or beah wandering
around the desert clay. They should have gone to Yellowstone instead.

[Drew Wiley]

Bob - Kirk, perhaps subconsciously, comes up with these corkscrew askew compositions which appeal quite a bit to me. In this case he got the added asset of
a downpour right in the vortex of that cumulative effect.

[Kirk Gittings]

Drew I try to consciously avoid "rules of composition" but compose around what "feels right" as a physical reaction rather than what fits some established rule. The rules are subconsciously embedded in us and come in anyway sometimes. Also I tend to photograph in rapidly changing skies and the edges of clouds etc. along the top edge are a best guess. Usually they work out-sometimes not exactly as I anticipated but better. I shoot a lot of film as the sky "arranges itself" around the foreground.

Yesterday I shot 16 Acros Readyloads of one shot as the heavens squirrelled around. An expensive shot but not unusual for me. I remember Picker saying something about first just getting the shot and then waiting to see if it gets better and shoot it again. I took that to heart a long time ago when I read it. In this case and the one yesterday, it kept getting better and I would shoot and then I'd think well let's wait a bit and see what happens and it would get better and I would shoot etc. etc. till the literally the sun went down two hours latter. I looked down and saw I had shot 16 sheets and wanted to kick myself (near the end of my Acros stash-from here on its all FP4+) but then I was pretty sure the last is the best. The shot yesterday is potentially iconic for a project I am working on so it will probably be worth it.

[RSalles]

Kirk,

I can just imagine the beauty of this image wet printed 11x14 or bigger,

Cheers,

Renato

[Jim Galli]

A lovely image and a worthy honor. Congrats Kirk. (ps I love your signature)

[Merg Ross]

Bravo! Superb image, Kirk.

It serves as a reminder that such results come from passion, sacrifice, dedication, and a good eye.

Congrats,
Merg