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What's appealing about window reflections is the psychological element, and depending on the time of day and where one is standing and who or what is passing by, the myriad possibilities of images. Glass is only a surface, but that surface changes, a hard surface with fluid flexibility. In Philip-Lorca diCorcia's "Mike Miller; 24 years old; Allentown, Pennsylvania", the image is taken through glass at someone who appears to be taking a quiet reflective moment and more reflections and layers on the glass surface farthest from the view; like the subject is caught between different depths and perceptions captured at that particular moment in time.

"Capturing daily life in the form of ‘snapshots’ taken in the street," Daido Moriyama “I. Retrospective 1965-2005″ & “II. Hawaii”





Taking street images out of context makes them a little surreal; capturing what is often overlooked because it's just there like so much noise, or a note of a song, but not looked at individually.

Talking about Ansel Adams with a friend the other day, I realized that his work is the exact opposite of mine. He lugged heavy manual equipment up dizzying heights in nature and was maddeningly deliberate and technical in taking his time-consuming grand landscape images shot in black-and-white.





While my color snapshot images are taken from a lightweight hand-held digital camera on flat streets, often close up, and take seconds to find and capture. Yet there is a joy in taking the pleasing image that captures our attention, compelling us to archive it, whatever it may be.