About the Photography
About Bob.
Fort Worth stockyards.
The first time that I saw Bob Philips on TV, I was immediately taken with his show; a half-hour program showcasing a different, usually small-to-very small location every week. At that time it was called "4-Country Reporter", named after local channel 4 in Dallas, but the "Country Reporter" part is all Bob.
Around Egypt.
The 1840 Barn, 2002.
This is where it started. Not the North African country half a world away, but rather the sleepy little town just outside of Wharton on the Colorado River.
I saw a picture of the old post office the day before, and decided to go take a look thinking that it would be a good subject to start out with on my first real photography outing in years. When I got there I noticed that it was in bad shape, and it really wasn't much to look at. As I turned to my left, I saw something that I hadn’t even noticed on the drive in; a much more interesting old barn, and then another, and then a beautiful old homestead sparkling in the late evening sun.
Solitude.
Abandoned House, Gordon. 2006.
There is something about driving a hundred miles before dawn, setting up in a little place ten miles from the freeway which, a day before, was only a little spot on a map with no other reference. With a warm coffee from some small store out there in the country, I stood behind my camera, firmly mounted on a tripod, and looked at the scene. There in front of me would be a nice turn of the century iron railroad bridge, unencumbered by the pace of modern life.
The Vegas Connection.
Vegas Lights, 2007.
I have to say, I like Las Vegas. I mean, I really like it. From the fast-paced action, to the bright lights and people-watching potential, what’s not to like? There’s gambling, which for the most part I’ve done my share. There are the shows, some of which are amazing like “Le Reve”. And then there are all of those lights, strung out like some six mile long Christmas tree in ever size, shape and color you could think of. I can’t imagine what the electric bill must be.