Motivation is a photography blog that discusses the creative aspects of photography. The posts will include thoughts about images and their interpretation, photographers and their work, technique, workflow, my ongoing projects, and perhaps even the occasional off topic rant.

More Pete's Lake

This is an image that I have actually posted beofre, but as a straight photo. I reworked it using several techniques in order to better have it reflect what it felt like at sunrise at this beautiful location (Pete's Lake near Munising, in Michigan's Upper Peninsula).

 © Howard Grill

© Howard Grill

What did it look like before I attempted to go beyond a 'straight' photograph? It was an equally valid image that I believe also transmits, in a slightly different way, what it was like to be at this idyllic location at sunrise. However, I believe that one has to recognize that the 'straight' photo is also really just my interpretation of the RAW file meant to transmit my impression of what it was like there. So perhaps I shouldn't call it a 'straight' photo, but, rather, a 'straighter' photo. No photo is truly 'straight'; not in the digital age nor in the analog age.....but that is a discussion for a different day. 

The 'straighter' photo:

 © Howard Grill

© Howard Grill

Again, I think they both work in different ways. Which one works best for you? Why? I would love to know!

In The Woods

Now this is something really different for me, but I am committed to at least trying different things. I think I at least owe that to my parents after years of not eating my veggies :)  The background is composed of three of my tree photos taken from different images and composited together. My idea was not to make an entirely convincing background but, rather, to make an interesting one. That is why the overlap of some of the trees doesn't look quite natural, or perhaps looks a little 'odd'. They were blended together to be just a little 'off', to raise an eyebrow or make you wonder whats not quite right about it.

But when I was done with the background, it needed a subject. So I dropped in a model image that came with the course I am taking (fully licensed for any use, of course). Well, she didn't exactly simply 'drop in' since she was in color, much bigger etc. Lets say she was gently manipulated into the photo in an attempt to make her presence at least look realistic against the background.

Definitely not my usual type of work, but I am having fun playing!

 © Howard Grill

© Howard Grill



When I was at the Musee d'Orsay in Paris a few years ago, they had a display of paintings by one of the grand old masters.....unfortunately, I can't remember who (if a reader knows, by all means, please remind me). At any rate, given some of the techniques I have been learning and practicing I couldn't help but 'grunge up' the photo I took of the painting a bit. Well, maybe more than a bit. I sort of made it mine. With apologies to that grand master of painting.

old master.jpg

Another Self Assignment

Another self assignment to digitally transform a photograph utilizing fractals and by 'painting with light'. What are fractals?  See those wavy green and orange lines behind the doll....those are fractals, which are blended into the image at low opacity. And 'painting with light'? That is an enhancement of the yellow glow behind the doll done by using the color picker in Photoshop to choose the color of the existing glow and then painting with a soft, low opacity brush in the appropriate area on a new empty layer. Looks messy, but then change the blend mode to color, or soft light, or just experiment...the messy looks goes away and it all blends together nicely. I also obviously added in the musical note embellishment.

Where is this all headed? I don't know, but I do know that I'm having fun with it all!

 © Howard Grill

© Howard Grill


Self Assignments

In my last post, I wrote about trying to get my photographic thoughts and plans together after having 'completed' my Empathy Project.  One of the ideas I had mentioned was delving further into 'Photoshop digital artistry'. I had taken an excellent course in this some time ago, but had really gone through the tutorials listening and watching but not doing.....and that's a mistake. So I have started going through it again, this time giving myself self-assignments to utilize the techniques taught in the tutorials of compositions that seem to be in a style that I like.

And so I thought I would post some of my self assignments, of which this is the first. The assignment was (utilizing my own main image):

Construct a background from multiple textures

Add the main image and mask out the edges  using a 'grungy' brush

Add the frame with the main image 'spilling out'

Add some embellishments to create visual interest, including scribbles that I make and scan in myself

Blend in a 'line drawing' version from Topaz Impression


And the final result is below.


 © Howard Grill

© Howard Grill


What To Do When The Project's Over?

Readers of my blog know that over the last year or so I have been working on my Empathy Project, which took up quite a bit of my time. It really was an all encompassing project for me, both time-wise and emotionally. I ended up with 32 portraits and interviews. Once I had completed those, it took me a couple of weeks to prepare the material for submission to a magazine (more on that in a future post, when I hear back). Once that was completed.....well, it's sort of a let down. What does one do next?? How do you decide on the next project? How do you know where you should redirect your efforts? Because I hadn't really done any longstanding projects like this before (well, maybe one, The Carrie Furnace Project) it's a problem I haven't really previously faced. And I know it may sound trivial, but I really am unsure as to where to find inspiration next.

So I am doing a few things to help me along. First, in the past, I have had an interest in and taken some courses on 'Photoshop Artistry', the idea of using photographs and Photoshop to create composited pieces of artwork. Though I had gone through the courses and used some of the techniques, it isn't something that I really delved into deeply. And, while I had tried to do some of the 'assignments', I am really not too good at following other peoples project suggestions (despite it being a good way to learn). It just isn't a way that I take to very well. So, I am taking another tact. I am reviewing some of the lessons and when I review a tutorial that shows work and technique that is in 'my style', that I can see myself using, I make up my own assignments to practice the technique. I think I can work and practice better that way.  It is something I am trying and we will see where it goes. Who knows, maybe I will even describe and show some of the self assignments and results here.

The second thing is that (and here is something that readers probably don't know about me) many years ago I used to raise orchids as a hobby. In fact, I had constructed a growing room in my basement using with high intensity lighting and various sorts of climate control. I finally gave it up because the time involved became too overwhelming. At one point I actually had an article published in 'Orchids', the journal of The American Orchid Society, about how to construct and maintain such a growing area.

Well, I am starting to do some growing again, but in a much more constrained way.....on a stand under  some fluorescent lights. And in addition to growing a few orchids that I kept, I have also taken to growing something new that has captured my fancy....carnivorous plants. The reason I mention any of this is that the plants are so bizarrely interesting that I would like to make photographs of them. Think I'm crazy? Well, check this out...... 

This is a beautiful book with wonderful fine art images of carnivorous plants.

And then there is Beth Moon's wonderful black and white portfolio entitled "The Savage Garden", named after the classic carnivorous plant growing manual by Peter D'Amato

Several years ago Beth's carnivorous plant portfolio was published in LensWork. These plants really are bizarrely photogenic in a very abstract way.

At this point, I am just trying to put ideas together. If anyone would like to share ideas about how they get inspired or get motivated to 'move on to the next thing', I would love to hear them! 

Blazing Stars - The Annual Pilgrimage

Every year, at the end of July through the beginning of August, my 'photo friends' and I make our annual pilgrimage to Jennings Environmental Education Center to see the blooming Liatris spicata, more commonly known as Blazing Stars. While you can perhaps find them growing in gardens, the open prairie of Jennings is the only place in Western Pennsylvania where they grow naturally. The open prairies of the Midwest is otherwise their natural habitat.

Every year, besides the 'standard' type photographs, I try to do something a bit different. This time around, I tried to not only photograph the plants, but to also photograph what it felt like to be there surrounded by them out in the open fields.

 © Howard Grill

© Howard Grill


The Year Of 100 Rejections By Charles Chu

Lately I have been taking a number of on-line courses trying to learn new types of photo artistry techniques, learning to use flash, learning to make composites etc. And the one thing that rings true for learning and improving at all these things is that the improvement comes from the doing. Doing over and over and over again. Defining what you want to learn. Forming projects. Setting deadlines.

One of the best ways of describing the process comes from an article I read by Charles Chu, whose method for becoming a better writer is to plan to have his short stories get rejected 100 times during the next year.  The idea is that by the end of the year he will have done so much writing without being concerned about rejection that he won't be able to help but become a much better writer.  As he notes in his post:

'Ray Bradbury, most famous now for his novel Fahrenheit 451, once advised that writers write one short story a week. Why one story a week? Because “It’s not possible to write 52 bad short stories in a row.”'

Intrigued? it really is a great article about how to get better at anything really!

"The Year Of 100 Rejections".  It's a good and quick read that I wanted to share. And it pertains to photography as much as it pertains to writing fiction.

Seeing The Abstract

Lately I have found myself thinking about style, or, more specifically, about how people see.....about how I see. They are the same thing, style and how you see, more or less. I think it really is an interesting topic for everyone to ponder. What lenses you most often use gives some insight into this. For me, I tend to use a macro lens and lenses with longer focal lengths more than my other lenses. Of course that doesn't mean ALL the time, but there is a definite preponderance.

I tend to see things in little segments or abstract pieces. It's just the way I naturally see best.

 Glass Abstract    © Howard Grill

Glass Abstract    © Howard Grill


The image above is a segment from a very large piece of glass art which was on display at a show in the botanical garden that I frequently go to. The piece is actually a massive pitcher plant, but I enjoyed the abstract shapes and colors that you could see in small portions of the glass even more than the piece as a whole.

 Mural Abstract    © Howard Grill

Mural Abstract    © Howard Grill


Another good example is my "Mural Project", where I make photographs of very small abstract sections of large urban murals. I got to make some more of these on a trip to San Francisco a week or so ago. The Mission District is absolutely wonderful for murals (and food too)!

How do you see? How is that reflected in your photography? Give it some thought.....

A Mother's Treasure

My parents recently had to move out of their home, my mother to a nursing home and my dad to assisted living. It wasn’t an easy move. My mother is not one for material things, but she loved art and treasured two decorative statues for many years. I was given the statues and decided to photograph them. As I did so, I started to see many interesting compositions....maybe this will become a series?

 © Howard Grill

© Howard Grill


Foggy Morning

A few weekends ago the weatherman was predicting fog. So I got up early on Sunday morning planning to drive out to Moraine Lake, about 45 minutes from my home. There is a golf course close to my house which I decided to drive through in order to get to the highway. As I was driving through it, I noticed how heavy the fog was and how beautiful the trees looked in it. 

Then it struck me....why drive 45 minutes hoping the fog doesn't burn off and that it is still over the lake when I arrive, when there is a gift being handed to me right here and right now. As my teacher Nancy Rotenberg used to say, 'take the gift you are given'!

So I parked the car and starting making photographs on the golf course. Given the fog, it was pretty empty except for one crazy photographer and a couple of crazy golfers who couldn't see where their balls were going. I respected their presence in the deep fog and they respected mine...."Hey", the call went out, "we are hitting some balls in your direction and we really can't see you or where the balls are going very well".


 Fog And Trees    © Howard Grill

Fog And Trees    © Howard Grill

This final image is my interpretation of the scene using some of the techniques I have learned in the digital artistry course I have been taking. I think it transmits the feel of what it was like to be out there that morning!

Image Fatigue

There was a time in the not too distant past when a photograph of a beautiful sunrise seen through fog surrounding a mountain range, complete with alpine glow on the tips of the mountains, would be an image that one would ponder for a bit of time. One could well imagine it hanging in a gallery. As a stock photograph it could be expected to draw two to three hundred dollars per sale. Maybe more. That time has seemingly come and gone.

One need only direct their browser (you don't even have to leave the house) to Flickr, Facebook, Instagram, or Google Plus to see hundreds, no, thousands, of photographs like the one described above. True, some are better composed, better processed, or convey feeling better than others.....but there is no denying that there are still many thousands that can be reached with a click that, frankly, are really, really good!

And as one  browses through such images they might find themselves scrolling through them faster and faster and faster. I believe it's image fatigue.......we get used to seeing so many images, photographs that in another era, before the internet was able to feed us image after image after image, we would have spent time pondering...... that we now just zip through spending a second here or two seconds there. Even photo genres that wowed us just a year or two ago (think milky way across a navy blue sky with a well light-painted foreground) are now available in profusion.

It seems that the strategy for some is to go photograph in ever more exotic and hard to get to places. I'm not saying that this is a 'bad' strategy, it's just that one has to have a good deal of time, money, and good health to make it happen. And, of course, while everyone wants to see something or someplace they haven't seen before, rare or unusual or far away doesn't necessarily make the images 'good'; it just makes them images of someplace most people haven't been to (think Antarctica or Iceland). And the more these destinations catch on, the harder it is to be original, even in distant locations. How many pictures of ice on an Icelandic beach have you seen, for example.

Image fatigue.

Others try to photograph from more and more precarious and dangerous viewpoints (think of those photos shot by folks standing on a wall at the edge of a skyscraper with no tethering or protection from a fatal fall). Yes, everyone wants to look at them, but doing these sorts of things to get more 'likes' is just plain stupid.

Lets face it, everyone with a cell phone is now a photographer. And I don't mean that in a negative way. "iPhoneography" has become a medium in and of itself, and there is an incredible array of apps and post-processing possibilities that enable one to make art (as opposed to snapshots of your lunch - I still don't get why people do that and why they think others care about it - but maybe that's just because I'm old). 

So......what is one to do to avoid having their work get lost in a sea of images, in order to try to maintain some artistic individuality, and to have one's work seen, and, dare I even say, to stand out from the crowd? I certainly don't have all the answers, but have been thinking about this quite a bit lately. Here are some of my thoughts on this, but please feel free to comment and chime in with some further suggestions. In fact, I would love for you to do so. Here are some thoughts and ideas:

  • Not to state the obvious, but shoot what you love, not the hot subject of the day. Only by shooting what you love will you make images that might move people
  • Shoot projects - I'm not implying that one shouldn't take 'best of' images that are meant to hang on a wall, but also do some 'project photography' - examine a person, place, topic, or subject in depth. I think that by photographing projects you are more likely to make meaningful images that reveal more of yourself
  • Consider learning a new technique to see where it takes you - for example, extreme macro, very shallow DOF, long exposure, stop-action, etc
  • Don't fret about having a huge audience - worry about having an audience that really cares about your work
  • Think about trying to have your work published - I think that we tend to look longer and harder at images that are in print, as opposed to flipping through those on Instagram and Flickr. Well, at least that's true for me, though I'm not sure about millenials who grew up with the internet. Images that are published also seem to carry more 'weight' 
  • Learn the art of making prints - yes, I know it's somewhat last century :), but the fact is that it is an art unto itself and, in my opinion, more difficult than making an image look good on screen. It gives the image a physical presence. Holding a print made on a fine art paper is a very different experience than viewing the image on a monitor. And it does set you apart from the many that don't make prints (or don't make them well). I believe it is an art worth learning

Please chime in.....

Creative Doubt

"Doubt is what prevents us from achieving goals"

"Doubt is the necessary evil of creativity"

"Creativity is a lifelong pursuit"

Ted Forbes

A friend of mine introduced me to the wonderful ongoing YouTube video series by Ted Forbes called "The Art Of Photography". It's a great series that I find worth watching in this era when media comes at us a mile a minute.

The quotes above come direct from his episode "Creative Doubt". There are some great thoughts in this episode, which is linked below, and I wanted to share it, as I am sure it applies to every artist in all mediums. You might want to subscribe.....I know I did.

Molecules Of Art?

There is an idea I have had for a photographic project that has been nagging at me for several years. I keep trying to ignore it because I don't know if others will find it interesting, but it just won't let go. Realizing that others not finding something interesting is really not a good reason to not pursue it, I decided to give in to that little voice.

So what is this project? I have spoken about it before, but just touched on what it is about. The truth is that I am not yet sure exactly what it actually is about.....but perhaps that makes it a good idea to talk about.

Murals. I see murals. Well everyone sees them. You know the kind I am talking about.....the kind that are painted on the sides of buildings. Well, I can enjoy the mural taken as a whole and as the artist meant for it to be seen. But then I see these little segments of it. Little segments that themselves look like small pieces of abstract art in a way that is different from the original intent of the artist


Mural Abstract 1


These small pieces of the whole somehow look like they could be complete works to me.

Mural Abstract 2

A somewhat bizarre thought, that a piece of artwork could be composed of many, many smaller pieces of art that have nothing to do with the whole and don't resemble it in the least. Molecules of art?

Mural Abstract 3

The colors are vivid, but I think it also works reasonably well in toned black and white.


Mural Abstract In Toned Black And White    © Howard Grill


Texture Blending

As you might be able to tell from my last post on in-camera multiple exposures, I have been going on a bit of a creative journey and experimenting with various techniques. With this image I was doing a bit of texture blending, which is to say combining a 'base image' with various (in this case, two) underlying textures using blending modes to allow the textures to 'absorb' into the underlying image instead of just remaining stacked on top of it.  It is a technique that not only blends a texture into an image (which can be useful if there are bland areas without much detail), but also tends to intensify colors because the texture's color and luminosity also blends into the image below.  Needless to say, getting a nice result requires some experimentation with each image as not only can the specific texture be changed, but one can also change blending modes and use clipping layers to change the individual textures any way you would like.

Some practitioners of this technique really let the texture come though vigorously, but I personally enjoy a more subtle application. The finished image is seen directly below while the original is underneath that.

Pete's Lake In Michigan's Upper Peninsula - Textures Applied    © Howard Grill

With the blended texture, the yellow and pink/purple of the sky have intensified and the slight rippled effect best seen in the sky and lake add interest to areas that were otherwise fairly bland. It is a bit difficult to really see the rippled appearance with the small blog photograph, but if you click on the image it will open as a bigger 'lightbox' photo and the effect will be more apparent. Overall, I think it turned a pretty reasonable image that in my mind lacked a little something into one that is much more pleasing. 

Below is the original with no textures blended in.  It served as the starting point.

Pete's Lake In Michigan's Upper Peninsula - No Textures Applied    © Howard Grill

So let's have a look at the textures I blended into the bottom image to yield the top one.  Here we go....

 Texture 1

Texture 1

 Texture 2

Texture 2

Finally, here is a screenshot of how I have the layers stacked and arranged in Photoshop:

Layer Stack.jpg

The bottom layer is the blended 16 bit HDR image with Lightroom adjustments as imported into Photoshop.  Right above that is a curve applied through a luminosity mask and above that is a tonal contrast effect applied via Color Efex Pro. Above that are two Hue/Saturation layers with their effects targeted to specific tonalities, once again using luminosity masking, as well as two curves adjustment layers. Finally, we have the two textures applied via the soft light blend mode at <100% opacity. The bottom texture has a clipping adjustment layer to change its hue and saturation a bit.  Finally, there is one more curves adjustment layer at the top of the stack.  

If there are any questions as to what was done please feel free to ask in the comments and I would be glad to explain the process in more depth. 

In Camera Multiple Exposures

One of the nice features that are on recent Canon cameras, including the 5DsR that I purchased, is the ability to do in-camera multiple exposures. I believe that this ability has been present since the 5D MkIII (and way longer if you are a Nikon owner), but, since my prior camera was the MkII, that was a creative option I never had. Sure, it is something I could have accomplished in Photoshop, but the spontaneity of the whole thing in-camera is something that I find interesting and more akin to the feel of shooting multiple exposures on film.

So I think it will be fun to experiment and play a bit with this option as a creative tool. The image below is one of the first ones that I have made and was taken on my recent trip to Michigan's Upper Peninsula. The leaves did finally start to show nice color the day before we left!


This is certainly not the greatest multiple exposure, but it does get my creative juices going a bit and makes me wonder what interesting images could be made by combining multiple images into one frame.

More From The Unfocused Series

This image.....this series....well, it may not be for everyone.  In fact, it may not be for anyone (but me).  What I try to convey with these purposefully unfocused images is the feel of a place or object in its rawest form, The shapes, the color, the weather....even the smell.  The feeling you would get if you closed your eyes or squinted in the bright sun and took it all in without really looking. I attempt to do that by presenting color, shape, and lines without the detail to pull the mind away from the generalized experience.

Pink Trees, Unfocused Series     © Howard Grill

It is actually harder to do than you might think. You can't just take one unfocused shot and be done.  I take many shots with different degrees of blur.  Various degrees of blur seem to transmit different feelings, at least to me. And you definitely don't want the image so minimally blurred that the blur looks like an accident.

My prior photographs in this series were all of single flowers, but when I saw this scene it just spoke to me this way.  Yes, I also  took some focused ones, but I like the feel of the 'unfocused' images better.  It reminds me more about what it was like to have been there.

Mesquite Dunes

During the workshop I recently attended in Death Valley, the group had two occasions to photograph the magnificent Mesquite Sand Dunes.  The size and vastness of the dunes are hard to describe! The time to photograph the dunes is in the morning or evening when the sun is low in the sky, particularly on a cloudless day.  With few clouds and the sun low in the sky the light is very directional and certain areas of the dunes that are brightly lit are juxtaposed with areas in shadow, drawing abstract patterns across the landscape.

Making photographs here requires a different way of seeing.  No longer are you photographing sand dunes but, rather, you are making abstract photographs based on lines, shapes, and tones. In my mind, converting the image to black and white removes the last vestige of 'what it is' and allows the viewer to simply dwell upon the these abstract features.

This is the first photo of the dunes that I have processed since returning from the trip.

Mesquite Sand Dunes in Death Valley    © Howard Grill

Is The Tide Turning?

There has been a good deal of talk recently (by photographers whose work I truly respect) about the possibility that landscape photography has slowly been getting quite cliche, and that this process has been exacerbated by social media.

You know the type of image I am talking about.  They often tend to be wide angle, often (over)saturated, often (over)sharpened images made at sunrise or sunset in iconic locations. These are the type of images that tend to trend well on social media.  I don't have to try to verbalize the issue, as it has already been done extraordinarily well by others.  Here is some light reading for you about this (seriously, these are really worth reading):

"Cliche, A Four Letter Word" by black and white photographer Chuck Kimmerlee in his blog The Unapologetic Photographer. Chuck's work makes a personal statement even when made in the most iconic of locations and his thoughts about photography are ones that I deeply respect. I recently participated in a fantastic workshop with him, John Barclay, and Dan Sniffin.

"Closure" in Thomas Welborn's Hololight Journal blog.  Thomas is a photographer whose images sing about the Oklahoma landscape

"Photo Consumption, Conformaty, and Copying in Landscape Photography" by Sarah Marino in her Nature Photo Guides Blog

"Will the Real Landscape Photography Please Stand Up" by Ugo Cei in his blog

OK, go read those.  No, really, you should....then come on back!

So what are my thoughts about this? Perhaps there is not any strong reason you should care, but, heck, it's my blog so it's what I get to do!

I understand the logic in these posts and actually totally agree with them....but with a bit of a different twist:

Chuch Kimmerlee perhaps said it best during the opening hours of our workshop.  I paraphrase, but he said something along the lines of ".....see what it is that you can ADD to the conversation".  I like that analogy because it still allows for me to take the cliche image, in order to get it out of my system. Let's face it, it is hard to say no to the rising sun illuminating Delicate Arch.  I have never been to Arches National Park, but if and when I go, yes, I probably do want to get that shot (if I can manage to get there before the other fifty tripod laden photographers, that is).  If I don't, I will always wonder what type of image I could have made. But does the world need yet another photograph of Delicate Arch at sunrise......probably not.

But here is the important part (sticking with the conversation analogy). To me, making that cliche photograph is like the opening part of a conversation with someone you have never met. It is the "Hi, I'm Howard, what's your name.  Oh, where 'ya from, what do you do, and how long have you been photographing?" part. But once you get that stuff out of the way, if you feel a connection to each other you keep talking.  Maybe it takes an hour, maybe it takes a day, maybe it takes years,  but if you keep talking to that same person at some point you will know something about them that not many do. You will start to generate your own impression about what they are all about. And THEN, you can make photos that add something new to the conversation!

Making that cliche image can be like a 'warm up', getting to know the location in a superficial way.  Once I get by that I can hope to perhaps speak with my own voice about what a location means to me and add to the conversation.  Those images are the first step in what my teacher Nancy Rotenberg used to call 'going beyond the handshake'. But first you have to get the handshake out of the way.

What about the social media issue....about how these warm up images are so pervasive there?  So what, I don't pay attention.  You know that study where it was shown that, on average, people look at each picture in a gallery for only a couple of seconds?  Well, I think that is what you get on social media. The vast majority of people scroll through images quickly and like or plus or comment 'great shot' in a matter of seconds.  That doesn't bother me because my expectations of social media are low.  Do I like getting plusses and likes...sure, who wouldn't.  And you can give them to me here and here if you want. But my expectation is not that I am going to have deep and meaningful discussions about art, photography, and images on these sites.  Not to sound cliche, but it is what it is, and what it is is people scrolling through rapidly often expecting a quid pro quo.  Sure, on occasion there is a meaningful comment made by someone who you immediately feel you would like to speak with (that's how I 'met' Thomas Welborn and several other good friends who I have never actually met 'face to face').  And if you can get those people to visit your blog and spend some time with your images then the social media thing was well worth it. Better to have a smaller and more involved audience than a larger one that flits by, at least in my opinion.

So, in summary, I do hope the tide is turning. But I do also take those cliche images to warm up and start the conversation.  Perhaps they should be taken and not shown. I only hope that a significant number of the pictures I show are sentences from when the dialogue gets good.  Only you can judge that. And as for the social media aspect, I think that will always foster the trendy and the popular.

Just my two cents!

 "Stone Trees" from my Scene In Stone Portfolio  © Howard Grill

"Stone Trees" from my Scene In Stone Portfolio

© Howard Grill


© Howard Grill