Hiroshi Watanabe

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

HW

When I was in a high school, I was told by my parents that I must study hard and go to a university. I didn’t want to study. I had a good friend who wanted to become an artist., and he was a painter. I was somewhat influenced by his idea, but I knew I was not good at drawing and I had no other particular artistic talent. So, I thought I would do photography. Photography sounded fun and easy and no hard studying was necessary, I thought. I found the university with 4 year photography course and I was successfully admitted, and that satisfied both my parents’ requirement and my wish of easy life. My father bought me a Minolta 35mm SRL and that was my first camera. I had no prior interest in photography. I played a lot and enjoyed the four years of college life, but somehow I became serious about photography as I studied it. When I graduated, I found a job in the US which happened to be a production company specializing in making commercials for Japan. I thought I would work for the company for a year or two and look for a photography job meanwhile. But one photographer whom I met suggested that I stayed on with the job. He said advertising and filming had much potential while photography had no future. At that time, I was starting a family and I had the responsibility. So, I stayed on with the job and a four years later I started my own production company. After I ran the business for 15 years, one morning, I woke up and all the sudden I decided to become a photographer again. I don’t know why but I had decided. I traveled and built up a portfolio between commercial jobs for 5 years and after that I closed down the business and became a full time photographer. It’s been 10 years since then and I am still a photographer.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

HW

Obviously, one has to start by showing his/her work, and there are many occasions nowadays—contests, portfolio reviews, grants, etc. I don’t think opportunity is an issue here. There are plenty of chances to be discovered if you are good. So, the question is, “Are you good? “ Simple, easy, and sure way to find out is you. No one can answer this question but yourself. If you aren’t sure if your wok is good, then probably your work is not good enough. Don’t ask somebody else. Instead, hang your work and live with it. If it makes you feel good and proud that you made it, your work is good. If you think, “He will be sorry.” when someone rejected your work, then your work is very good. When you are sure about your work, you are ready to be found.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

HW

I am not sure if I am successful professional photographer. If “successful professional” means I can live a good, somewhat luxurious, life by the profession, then I am certainly not. I am represented by well-established galleries in New York, Chicago, Santa Fe, Los Angeles, and others, and I sell decent number of work every month. But fine art photography requires a lot of money to produce. I spend a lot for films and prints and also traveling. I work full time 5 days a week and I don’t do anything else. My expenses are almost as high as my photography income and I have so little left at the end even when I am lucky. So, maybe I am not qualified to answer this question. Then why am I doing photography? I think it is a combination of passion and stupidity. For me, photography is intellectual, artistic, and curiosity fulfilling. I love making photographs.

White Terns, Midway Atoll, from the series American Studies

Maiko Takaku, Matsuo Kabuki, from the series Kabuki Players

Patient RC 2, Epilepsy, from the series I See Angels Every Day

El Arbolito Park, Quito, Ecuador, from the series Gods, Nations, and Histories

Aikichi 2, Suo Sarumawashi, from the series Suo Sarumawashi

Fukunosuke, Suo Sarumawashi, from the series Suo Sarumawashi

Santa Monica Pier, from the series American Studies

Bubble Man, New York, from the series American Studies

Sardar Market, Jodhpur, India, from the series Gods, Nations, and Histories

Ellis Island 2, New York, from the series American Studies

Marina Ema & Kazusa Ito, Matsua Kabuki, from the series Kabuki Players

© copyright all images Hiroshi Watanabe

Aline Smithson

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

AS

From an early age, I was immersed in creative pursuits, whether designing doll clothes or drawing cartoons, and in college I was doing pretty much the same thing on an elevated level--I was focused on painting, and designing clothes on the side. After college, I moved to New York to become the next Diebenkorn, but ended up involved in fashion, while continuing to paint in my free time.

Becoming a photographer was a totally organic evolution—I had been surrounded by photographers all my life (my father and my uncle), we had a darkroom in our basement growing up, and I worked as a fashion editor alongside incredible photographers, but hadn’t considered it as a career until it sort of hit me in the face. Once I committed to photography, it felt like it was natural fit and it brought me back to my roots as an image-maker and artist. I realized I had spent decades looking at images—on album covers, in magazines, in galleries and museums, and I wanted to create my own.

At first, there was a huge learning curve, but my happiest days were those spent in the darkroom, figuring out my craft and sensibility. I only took a few classes, and the rest has been self-taught. I had two small children at home and had to contain my photography to the hours that they were in school. I had no community, except for the friends I made in the darkroom, and spent hours navigating the internet trying to learn from other photographers—seeing how they put together portfolios, what exhibitions they submitted to, what magazine accepted submissions. But I never had any doubt that this was my path. And in retrospect, taking things slowly was a good thing. And even though I wish I could have started earlier and earned an MFA, I think being a self-taught photographer has kept my vision unique.

I made many, many mistakes, got rejected many times, but when I started creating work that kept me awake at night with excitement, things started to happen. I got into Review Santa Fe, was offered exhibitions, and began teaching.

What sustains my vision is that I continually want to interpret the world through my own artistic lens.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

AS

The two biggest problems that beginning photographers face are learning how to edit, and making high quality prints. Beginning photographers forget that it’s not just the image that is for sale, but the print. Many students have never produced prints, even though they have made thousands of photographs, and perhaps the fact that they have thousands of photographs, doesn’t allow them to commit to a single image!

Emerging photographers have to remember that the art world has seen everything, and in order to produce work that gets the attention of those rarefied eyes; it has to be unique, meaningful, and professional. Oh yes, and interesting or important enough not only in concept, but worthy of the energy it takes to promote the work for years to come. It’s important for work to say something, to tell a story, to have a point of view, to have a voice, and to understand why you are making the work and who your audience is.

When a photographer is ready to “emerge”, they should be visually sophisticated, well versed in the photo world—being familiar with galleries, museums, major competitions, and other photographers—and be able to present a cohesive body of work with a smart statement and corresponding materials. The best places for emerging photographers to test the waters are at portfolio reviews, with a wide variety of reviewers giving critical feedback. Portfolio reviews can be very expensive, but there are many smaller ones cropping up that emerging photographers can take advantage of. In the beginning, I started by submitting to group shows, many that included mixed media, and to magazines, online and in print. I realized early on that the most important thing was THE WORK.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

AS

Success is an interesting concept…I do consider myself to be professional, but I am not sure what successful means anymore. As I achieve more personal goals, I find just as many or more that I have yet to achieve, and that keeps me working hard every day. There is no magic to this journey. It’s just putting one foot in front of the other, trying to keep the momentum going especially on those days when the last thing I feel like being is creative. Trust me, there are dry spells, periods of insecurity and defeat, but I have discovered that by celebrating and exploring other photographers during those times (well, all the time) and living a visual life, it keeps me engaged and energized.

In addition, developing a supportive photographic community is vital to success. I have to say that having the encouragement and friendship of photographers, editors, gallerists, etc has been one of the greatest rewards of this journey. One gallerist in particular, Crista Dix from Wallspace Gallery in Seattle, has been my champion and sounding board, and I have learned so much from her guidance and friendship, and one magazine editor in particular, Russell Joslin of SHOTS, helped create my first community of photographer friendships and got my work seen on an international level.

I can’t speak enough about the importance of good will and to giving back to this community. Take time to make connections. Let other photographers know that you appreciate their work, compliment a curator on an exhibition or an editor on a publication, be open to what is going on, and show up. Donate to auctions, support institutions that promote your work. I have been writing the photography blog, Lenscratch, for the past several years, and though it’s a lot of work, I have learned so much and connected with so many terrific human beings. Opportunities have come to me because of that hard work, but better yet, opportunities have come to photographers I have featured on the blog. And I find that incredibly satisfying.

Fur, from the series Daughter


Quincy, from the series Spring Fever



Shirley and Boat, from the series Paradise in Color



The Baths, from the series Dolls at Night



Mother, from the series Dolls at Night



Arrangement 10, from the series Arrangement in Green and Black - Portrait of the photographer's mother



Moving Trough, from the series Shadows and Stains, Notes from a Dark Room



Mother, from the series Inside Out



Rhino, from the series Unreal / Reality



John and Roy, from the series Paradise in Color



Arrangement 1, from the series Arrangement in Green and Black - Portrait of the photographer's mother



Brothel, from the series Dolls at Night


© all images Aline Smithson

Stefan Heyne

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

SH

My first steps as a photographer are inseparably connected with the, at that time, divided Berlin. I was a student in East Berlin and lived very close to the wall. Beyond all the social symbolism which the Wall had for me first of all it had the effect of being a very present, physical view blockage. There was something, something behind it, that I couldn’t see. So for me it was succinctly connected with the uncertainty about, and only vague idea of, what lay behind it. On the other hand, the Wall was also something abstract for me, a big installation, which because of its monotone surface and endlessness appeared to be a big contrast to the pulsating chaos of the capital city. This was so fascinating to me that I absolutely wanted to take photos of it. Because it was forbidden to take photos near the wall, it was only possible under difficult circumstances, but mostly it was not possible at all.

And so today I am engaged with the narrow edge between the real and the abstract, between recognisable and unrecognisable conditions, between the habitualness of viewing and visual irritations. Greyzones and walking close to the border are still interesting subjects for me, so also the boundaries of photography.

The amazing thing about this is that only these boundaries lead into the centre, they come to the point of photography, what its own and unique reality actually is. If photography isn’t about these questions and is only used as a vehicle to transport content or subjects, the photographer doesn’t meet its uniqueness or potential.

Beside these more conceptual questions it’s always about the approach to the perfect image. This is my driving force.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

SH

From my point of view it is essential that photography itself - the making of images, the thinking about images and the viewing of images - is a basic need for the photographer. If you deal intensively with your own images, you quickly realize what is good and what is not going to stand up. A good image has to speak for itself and doesn’t need an explanation. If you still have the feeling that you have to enrich or support your own work with comments or explanations, this is a clear sign that the image does not speak for itself and isn’t ready yet. A good image burns into your mind so that even after you have seen many others, you don’t forget it, and even if you do, you would recognize it again immediately. This is of course the same for every gallerist and collector.

A second, essential point for finding your own position is uniqueness. The images have to have their own incommutable style.

In this context, I find the following quote from the German gallerist Gerd Judy Lübke most applicable: You always have to be searching for the stars and if you are good, the market will find you!

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

SH

In retrospect, this is hard to answer. I think one thing lead to the next. For me, it was important that I certainly always believed in myself and in the power of my images. Besides this, it was certainly helpful that I sought out the first publications very early on. More important was that I looked for allies with whom I could reflect upon my own position and strengthen it.

Stefan Heyne, Strasse / Street, 2004, 138 x 92cm / 54,33" x 36,22"

Stefan Heyne, Rummel 1 / Carnival 1, 2005, 126 x 190cm / 49,61" x 74,8"

Stefan Heyne, Fach / Shelf, 2007, 120 x 180cm / 47,24" x 70,87"

Stefan Heyne, Szene 1 / Scene 1, 2006, 50 x 75cm / 19,69" x 29,53"

Stefan Heyne, o.T. 3330 / Untitled 3330, 2009, 180 x 120cm / 70,87" x 47,24"

Stefan Heyne, Auslage Display, 2006, 160 x 106cm / 62,99" x 41,73"

Stefan Heyne, Fünf / Five, 2007, 140 x 92cm / 55,12" x 36,22"

Stefan Heyne, o.T. 5913 / Untitled 5913, 2010, 120 x 180cm / 47,24" x 70,87"

Stefan Heyne, Gebäude / Building, 2007, 180 x 120cm / 70,87" x 47,24"

Stefan Heyne, Turbine 3 / Turbine 3, 140 x 93cm / 55,12" x 36,61"

Stefan Heyne, exhibition view

Stefan Heyne, exhibition view

© copyright all images Stefan Heyne, VG BildKunst Bonn

Tema Stauffer

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

TS

I spent much of my childhood with my head buried in books or roaming my neighborhood for adventures and places to daydream. I collected baseball cards and wore cowboy shirts and pitched tents in my backyard.

Most of my friends were boys or tomboys. I was a thief for a while and stole coins from my mom’s purse and candy from the corner store. I took naps on the branch of a lilac tree and cried when I read That Was Then, This is Now by S.E. Hinton.

I was fascinated with stories and was determined to invent my own path. Among some of my early fantasies of what I might be when I grew up were a writer, an artist and the leader of a motorcycle gang.

My mother enrolled me in my first photography class at an art center while I was in high school. I took pictures of my friends in fields and cemeteries and jumped out of the car with my camera for the right stranger on the street - someone who looked as restless as I felt.

Photography was license for adventure and storytelling. I liked it even more than drawing, painting and practicing my violin. Taking pictures gave me an adrenaline rush. Photography was sexy and subversive.

If you merge a writer, an artist and the leader of a motorcycle gang, you might come up with someone who explores people and places in America and returns to a Brooklyn railroad apartment to share photographs and thoughts about those experiences. I love driving and searching. I also love nesting with a keyboard and a computer screen.

Photography transforms how I look at the world. Things that are sad, mundane, ugly or beautiful become more interesting and poignant. Both taking pictures and writing stimulate and deepen my perception of reality. I become more engaged in my experiences and capable of reflecting on the most difficult ones. If I stopped taking pictures and writing, I am sure my world would fall flat.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek a broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

TS

During my twenties, I was involved in a number of shows organized by peers in alternative art spaces. We were eager to show work and commercial galleries seemed out of our reach. Shortly after I finished graduate school, I curated an exhibition of work by twelve photographers at a warehouse space known as The Butcher Shop in Chicago. This kind of show was good practice for resolving work, getting feedback and building relationships with other artists. My first exhibition in New York was organized by a collective of women photographers called NYMPHOTO in a loft in Manhattan, which led to a series of exhibitions at Jen Bekman Gallery.

Artists develop their careers in part through their involvement in a community. Going to openings, supporting other artists, recognizing where one’s work fits in, looking for mentor figures and reaching out for advice are all important steps in this process. I wrote to a number of artists and writers whose work I admire, often with the result of forming lasting relationships.

The Internet has expanded the notion of an arts community, and it is critical for young artists to make their work visible in this environment. One of the most important steps I took was starting a blog, PalmAire, which gave me a place to share work-in-progress and develop my thoughts about photography and the photo community. Many of my opportunities have arisen organically through personal contacts and exposure on the Internet. My relationship with Daniel Cooney, who is currently representing my work, resulted from a friend mentioning my name to him and Daniel discovering portraits on my blog.

The efforts I made to write about photography on my blog furthermore lead to a position for an arts website called Culturehall, whose mission is to support the careers of a community of artists. Culturehall is an online resource where selected artists can share their work with curators, gallerists, collectors and other artists. My role as a curator gives me the opportunity to help artists create online portfolios of work and promote their exhibitions and events. Culturehall’s director, David Andrew Frey, and I also invite guest curators to bring artists to the site and write about their work.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

TS

When I first read this question, I laughed out loud and squirmed a little. The notion of a “successful, professional photographer” conjures a mythic figure with a studio, fancy cameras, interns, magazine assignments, and a substantially greater income. Of course there are many versions of a successful, professional photographer, but still, it isn’t the most appropriate definition for me.

It is more accurate to describe me as an artist and teacher whose life is deeply invested in the arts community. What constitutes “success” is subjective. I am driven and passionate about the arts, and my efforts and involvement have led to some significant exhibitions, recognition from my peers, and a relationship with a great gallery, which are some of the most satisfying forms of success.

On a day-to-day basis, I feel acutely more aware of my “struggle” than my “success.” Feelings of accomplishment are rewarding but also fleeting. When the high of one accomplishment fades, it creates an opportunity to work through a set of more challenging feelings towards the next one. For most artists, developing a career in the arts is a series of small steps over a long period of time. It demands the ability to experience rejections, creative blocks, financial constraints, self-doubt and anxiety. And then to brush off the dust, strategize, produce work and move forward.

Family, close friends, therapy, swimming, biographies of artists and writers, steady correspondence and supportive relationships with other artists are crucial to my own survival. I think there is good karma in helping others and I try to keep that principle at the forefront of my relationship to the art world.

Alberto and Jessica, Austin, TX, 2009

Car Skeletons, Highway 163, AZ, 2008

Teenage Boy, Austin, TX, 2007

Burning Brush, The Hill Country, TX, 2007

Jacob, Red Brick Wall, Binghampton, NY, 2008

Red Curtains, Dreamcatchers Sleep Lab, Dripping Springs, TX, 2007

Frye, Dreamers Adult Video Store, Austin, TX, 2009

Bedroom, Dreamcatchers Sleep Lab, Dripping Springs, TX, 2007

Annist and Rena, Kalamazoo, MI, 2009

Pit Bull, Chicago, IL, 1997

© all images Tema Stauffer

Russ Martin

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

RM

I grew up around cameras and photography. My father was a part time professional photographer and had a studio in town until I was about 12. When the building that he occupied was going to be torn down, he moved his business to our house. That included constructing a darkroom and using the living room for a studio. In high school, I wanted to make a name for myself. I tried sports, but I knew that was not going to be my claim to fame. Then I noticed another student who took pictures of school events was getting some notoriety. Having access to professional equipment, and a darkroom in my house, I said "I can do that!" My father loaned me one of his Rolleiflex cameras, showed me the basics, and I was on my way. Once I started, I was hooked. I loved looking through the camera and took pictures of everything and everyone. I came from a family without much extra money, so my father said he wasn't going to support my new found hobby. I think he wanted to teach me to be resourceful. Anyway, I had to find a way to pay for film and paper. I did that by taking pictures of all my friends and anyone who said "take my picture". I sold them for 25 cents to one dollar each. Back then, a roll of film was 80 cents and a box of 100 sheets of 8X10 paper was $8.00, so the income paid for my supplies. I went on to become the primary photographer for my high school yearbook. I photographed every school event as well as teams and activities. About half of the pictures were mine. Once I graduated, my photography career might have ended though. I went on to college and became a chemistry major. If I had been a little better mathematician or chemist, I would have stayed with that. However, when I ran into difficulties, I looked around for another major. In the meantime, when I applied to colleges, since I was involved with photography, I wanted to attend one where I had access to a darkroom. A tour guide where I ended up said that they had one students could use. Little did I know that she didn't know what she was talking about. So, once enrolled I discovered the truth and I wrote a letter to the editor of the college newspaper to complain. To my surprise, he called offering a position as a photographer. The fringe benefit was that I could use their darkroom any time I wanted. Now, being on the college newspaper had it's benefits as well. I got into concerts and other events for free and I was popular since I could get pictures published in the paper. This clinched the deal. I was having a lot of fun being a photographer and I wasn't having any being a chemistry and math student. So, knowing that I could be an art student and take photography courses, I made an appointment to see the chairman of the art department to ask if I could transfer in. I had never taken an art course in my life and didn't know anything but Picasso and Leonardo DaVinci, were famous artists. That didn't matter, I went for it based on my portfolio of photographs. Well, he evidently could see how intent I was, and that I had some decent photographs, so let me in. That was the beginning and it established the course for my life.

Since the beginning, I have loved everything about photography. I especially remember looking through my camera at everything. Though I didn't make pictures a lot of the time, I just liked how things looked through a lens. I also liked composing images and visually played around frequently. That love of images is still present. Today though, I don't photograph everything. I work on one project, usually involving one subject, over a long period of time. I do this to achieve something which is new and meaningful and that usually takes time. The challenges inherent in each project are what keeps me going. "The Hosta Project", which I am still working on after three years, was a challenge to myself to try to make "good pictures" from a subject that seems unimportant, or even boring. That is the kind of challenge that keeps me going.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

RM

They should to try to take a detached view of their work and compare it to that of photographers who are known or famous. If their work resembles anyone well known, my advice is to try something else. I frequently tell people to be yourself. Nobody wants another of anyone. Also, some subjects are already staked out. Ansel Adams was known for his pictures of Yosemite National Park. Anyone who takes a Yosemite picture will have their pictures compared to his. Better to photograph somewhere else. But, it goes further than this. A photographer shouldn't work in the style of another photographer either. Today, I'm seeing a lot of photographers who imitate Michael Kenna. Some of the pictures are even better than Kenna's. However, they will never become as important as Kenna. One person gets known for the, subject, style, or technique, and the rest are clones.

One vital action I recommend that photographers undertake is to network. Get on Facebook and learn to use it. It is a wonderful tool that didn't exist when I was young. Today, anyone can contact anyone. Not only that, it is free! I have become represented in three galleries through my Facebook contacts, and my "friends" include some of the most important people in the photography world. Not sure how much they pay attention to what I post, but they are seeing my name. Eventually, I become a person to them. That is important.

I also recommend entering the biggest and the most important competitions. See if you can win top honors. It is the people who win those honors that sometimes become important. If you can't win them, then that tells you something. On the other hand, if you do, it can really jump start things for you. Everyone has small competitions and exhibitions on their resumes. If a resume is important, then it will only be as important as what is on it.

Last but not least, your work is the main thing that will get you attention. It has to be wonderful in some way. It has to stop people in their tracks and make them sit up and take notice. I sometimes tell people that the work is everything. It is almost everything. Awards are important, but a long resume and well written artist statement won't save weak pictures. And nobody will care much about the supporting material if the pictures are great. I personally know of photographers who were unknown a few years ago and are now selling a lot of prints. They had short resumes, no college degrees, and 25-50 pictures. It didn't matter. The galleries loved their work.

I once was interviewed by the Picture Buyer of ABC TV. I asked what I had to do to get into his file of preferred photographers? He said "make great pictures". That is all he cared about. When pictures are hanging on a wall in a gallery or published in magazines, nothing else is important.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

RM

First there are all the things that I did to prepare myself. I read everything about photography, looked at thousands of pictures, and went to galleries and museums. I tried to perfect my craft and become the best photographer I could possibly be. I also became an art and photography major in college and earned both a bachelors degree and a Master of Fine Arts degree in photography. This education broadened my perspectives and I became knowledgeable about art and fine art photography.

Then, there were two periods when I achieved success. The first was in the late 1970's when I was represented by a good gallery in New York City. At that time, I was one of the few fine art photographers who specialized in color. Not only that, but it was different in that it wasn't documentary. It was tied to the traditions of art. When I approached the gallery, I believe it was obvious that it was unique and my work was accepted. Unfortunately, my gallery closed after three years and I had to find another source of income. I then became a photography teacher in a number of high schools and dropped out of trying to exhibit. Remember too, that this was before computers and the internet. It was very difficult to get your work seen, let alone represented. You had to send physical portfolios prints or take them around to places like New York, Chicago, or Los Angeles. I was not in a position to be able to do this. With the internet, this has now all changed.

Fast forward to 2005. This began my rebirth as a fine art photographer. Approaching retirement, I decided to enter B&W magazine's first portfolio contest. I was fortunate to win a Spotlight Feature with my "Flowing Water" series which was created 35 years prior. With this win, I was inspired to create new work and to enter it into international competitions and submit to magazines. Luckily, I have won quite a few awards and been featured in other respected fine art photography magazines. This has led to representation in galleries.

Wilted Hosta and Oak Leaves, 2007

Hosta Flower and Leaves, 2006

Dappled Sun, 2006

Silky Leaves, 2007

Reclining Leaf, 2007

Rococo Leaf, 2008

Wilted Group, 2008

Green and Blue Wilted Hosta Leaves, 2008

Blue Wilted Hosta Leaf, 2008

Torn and Wilted Hosta Leaves, 2008

© all images Russ Martin