Giclee print of digital photograph by Laura D. Roosevelt

Laura D. Roosevelt

Giclee print of digital photograph

A few years ago, on a trip to southeast Florida,  I went out with my camera and was dismayed to find almost nothing I wanted to photograph. At the time, I was doing close-up photos of nature, and everything in that resorty area was manicured. So I gave up and strolled along a dock crammed with boats, across from brightly painted hotels. I glanced down at the water and noticed how colorful the reflections in it appeared. I snapped a couple of shots. I looked at them and saw something I never would have predicted.

The brain naturally incorporates reflections into its overall perception of a scene; they become a part of a greater whole. In Florida, I discovered that my photographs capture something you can’t see with the naked eye. When you look closely at water that is not completely still, the undulations take apart reflected images, repeating bits of them like Picasso women with too many eyes, stretching them like fun-house mirrors. Your eye takes in the movement of what’s reflected on the water’s surface. That movement is like a film, and my photographs are frames clipped from the filmstrip.

My daughter asked me recently when I was going to be “done with the water thing.” “Probably never,” I replied. I’ve photographed water in cities in Connecticut, Florida, Maryland, and Massachusetts, and in Mexico and the Galapagos. There’s a lot more water out there I haven’t visited; I figure I’ve just gotten started.

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