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I look at the auto and facade series as portraits in their own right and feel the lack of people in them enhances the quiet stillness of the images. I approach the series of cars and facades as if they are posing for me.
For the first twenty five years of my career I was strictly a black and white film photographer. Then, on my first trip to Cuba, a whole new world opened up visually. The rich rawness and beauty of the landscape and the people was so energized and immediate. It screamed out to be documented in the color format. I just followed my heart.
- Excerpt from conversation between David Caras and Mark Feeney for Art News
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For the first twenty-five years of my career I was strictly a black and white film photographer, never keen on color photos. Then, on my first trip to Cuba in 2000 a whole new world opened visually. The rich rawness and beauty of the landscape and the people was so energizing and immediate. It screamed out to be documented in the color format and I just followed my heart and went for it.
- Excerpt from conversation between David Caras and Mark Feeney for Art News
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The facade and electrical series are layered with history. I work to see through the layers of aging right down to the beauty of what once was. The beauty is still there; it just takes time and thoughtful study to get to it.
I look at the auto and facade and series as portraits in their own right and feel the lack of people in them enhances the quiet stillness of the images. I approach the series of cars and facades as if they are posing for me.
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When I go shoot I don't go in search of anything. I wait to see what finds me. The electrical series was just by sheer coincidence. I happened across the old buildings and one day decided to walk in to see what was inside.
I've been working on this series (off and on) for about 10 years on my trips back to Cuba. The buildings are located in villages and cities throughout the country. I love decay. I love industrial settings. Part of the electrical series for me is the contrast between the beauty and the decay, combined.
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This series was shot in one day in 1975 while exploring outside of London with my wife, Nancy. We were both in London as part of an abroad program. The photos were shot with 35mm black and white infra-red film. Infra-red adds a fantasy type quality to them.
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1967 - 1970
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I started taking photos of wrecks in Puerto Rico while on one of our many family road trips -- that was in 1985. It became a series later on as we continued our road trips throughout the US. I spent about five to six years on this one subject -- all shot using black and white infra-red film with a 35 mm camera. I've always had a passion for automobiles.
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I was in Ireland in 2003 and 2004 as part of an artist residency. Ireland has another type of beauty, a timelessness that feels ancient and haunting. There is a soothing openness to the landscape that just spoke to me in a quieter way and black and white format seemed the best way to capture that.
- Excerpt from conversation between David Caras and Mark Feeney for Art News
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Talking of Dying : No fear
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