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LEADING LINES AND NEGATIVE SPACE

KEVIN HOLLIDAY USA Kevin Holliday is an internationally recognized, awarded fine art black and white photographer.

breaking the typical rules of composition and lighting with a precision versus perfection mentality.

His focus is primarily on architecture (both buildings and bridges) as well as long-exposure minimalism. Kevin's photography is noted for its attention to simple small elements, leading lines and negative space, which he attributes to his early roots as a graphic designer. His work features a strong vision within primary imagery and is often best represented within a series rather than the single image.

For Kevin, it's not just the capture of the image that matters; he has always focused on making the final "perfect print" the absolute goal and is hands-on in all regards to this effort... from capture to the final framed image ready to be hung, he has been the only artisan involved. With the "perfect print" philosophy in mind, you can rest assured if you have a limited edition print by Kevin Holliday, it has been handled by only himself from the capture to your possession. Kevin lives in Denver, Colorado.

Kevin is also known locally for mentoring up-andcoming photographers where he helps to develop the technical aspects of proper exposure,

PHOTOGRAPHY ÂŠ KEVIN HOLLIDAY WWW.KEVINHOLLIDAYPHOTO.COM

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UIDING LIGH

GUIDING LIGHT I have set forth, in this series, to depict a metaphor of our steadfast guidance of light over the course of time. By placing street lamps against a moving sky, created with long-exposure techniques, I am simply revealing that while circumstances may change, time may pass and we continue to move forward, there is an ever-present constant for each of us. This constant, depicted by a simple street lamp, may be different for us all, but it is there nonetheless. If you simply replace the lamp pole in each of these images with a visualization of your own constant, you will be comforted in knowing that no matter the storm or no matter how dark the skies may be, your “Guiding Light” will hold strong. It is paramount that each of these images remain as simplistic as possible in order to emphasize that what guides us is much simpler than we tend to make it out to be. All too often we stray from this guidance because we believe that it is too difficult to follow. Trust your instincts, and trust in those that lead the way… you will make your destination safely in doing so.

“I REALLY BELIEVE THERE ARE THINGS NOBODY WOULD SEE IF I DIDN’T PHOTOGRAPH THEM” - DIANE ARBUS

ATED ILLUSIO

ELEVATED ILLUSIONS A surrealistic series of bridges and overpasses depicted in an impossible light, “Elevated Illusions” reveals a more futuristic time and place that we can only dream of. Inspired by the simplicity of lines and shapes, I was quickly transported to another dimension in time when I peered through the viewfinder. The word “elevated” has two meanings in the title…the first and most obvious is the fact the these structures are indeed above our heads; however, the second and less obvious meaning is that our senses themselves become heightened by the manner in which the light has landed upon each surface throughout the image. In photography, we have two choices (for the most part), and that is to depict reality or to create illusions. I tend to gravitate towards the latter quite frequently in much of my work. My vision in this series is to create a world that simply does not exist… an almost Gotham-like state of emptiness and ruin, in which there is no traffic, no people, and only structures of concrete and metal spanning the landscape. The softening of the sky, created by long exposure techniques, provides a sense of tranquility in an otherwise rigid environment. Both inviting and uninviting at the same time, the images in this series represent a feeling of confusion that many of us face on a daily basis.

INEAR EMOTI

OF LINEAR EMOTIONS A musical image series rising from an underlying beat and captured at Plaza Tower One in the Denver Tech Center, Colorado. I say it is musical because when I look at this building I see music, or what reminds me of music anyway. I say it rises from an underlying beat because it has moved me for so many years now. This beautiful, linear architecture rings quite emotionally to me and has for as long as I can remember. It is a structure that I have been listening to for many years and have always wanted to spend some time photographing. In the spring of 2015 I finally gained my rights to do so. While photographing this beautiful piece of architecture, it really hit me at how in-tune with music it is. From the lines of the building that make up the sheet music, to the arches that provide the notes, it is truly a musical place â&#x20AC;&#x153;Of Linear Emotions". Each image has a pre-title, if you will, that dictates its individual musical representation and how I see it in regards to its own musical space. I truly feel that while this building may not stand amongst others in a downtown environment, it perhaps stands taller because of that fact. Standing alone in an office park environment, it becomes the conductor of a really wonderful musical masterpiece. I hope that this series rings as much in your ears as it does in mine.

CoDA

RHYTHM

MELODY

Movement or procedure with uniform or patterned recurrence of a beat, accent, or the like.

The succession of single tones in musical compositions, as distinguished from harmony and rhythm in the background.

HARMONY The science of the structure, relations, and practical combination of chords, and any simultaneous combination of tones whether they differ or not.

A more or less independent passage, at the end of a composition, introduced to bring it to a satisfactory close.

F STONED ILL

FISTFUL OF STONED ILLUSIONS Classic architecture truly warms my heart, and when it’s coupled with modern design it only gets better in my opinion. “Fistful of Stoned Illusions” brings out the best of both worlds in such a way that my vision was set in stone from the first time I laid eyes upon it. Right away I knew the angles that were needed and the control of light required to bring this vision to fruition. At 5 stories, it’s not a very tall building, but is quite enormous regardless, and surely as strong as they come. As this remarkable building sits at the end of a runway outside of a local municipal airport, I can think of no other structure that is so deserving of its placement in both time and space. It became my absolute goal to control the light in such a way as to only add to the illusion of this time and space relationship. By controlling the light in this manner, I feel that it has become like an ancient Roman god surrounded by an aura of light and darkness in a surrealism of stories yet told. Windows that cannot be punctured by exterior eyes, stone that will not fall, and columns that stand the test of time are the facets that will only release their stories to the right person at the right time. Secrecy is the name of the game here, and many will come, many will go, but only a few will be in the know.

COLUMNS

ARCHES

“IN PHOTOGRAPHY THERE ARE NO SHADOWS THAT CANNOT BE ILLUMINATED.” - AUGUST SANDER

OMETRIC DRE

GEOMETRIC DREAM Having spent a great number of years as a graphic designer, I have always been aware of the basic shapes and patterns that are physically around us each and every day. Many times these truly basic elements go unnoticed by most, but I suppose I tend to seek them out in much of my imagery. Carrara Place is a building in the Denver Tech Center that I pass frequently and have always taken note of in the fact that there are very large square columns repeating all the way across the front. I knew, even prior to approaching the structure for the first time, that there had to be some really great imagery that could come from it. It was actually not my original intent to create abstract imagery, but once I arrived on-location to scout the area for the first time, I realized that it was loaded down with amazing abstract angles that I simply could not pass-up! My original vision shifted from a truly architectural vantage point to one that was more close-up and unique. While the overall structure may not be visible in this series, I feel that the main elements are shown in a uniqueness that many may not take the time to fully notice. Furthermore, it was my goal to control the light in such a manner in hopes of creating a dream-like or altered-reality state-of-mind.

“TO CONSULT THE RULES OF COMPOSITION BEFORE MAKING A PICTURE IS A LITTLE LIKE CONSULTING THE LAW OF GRAVITATION BEFORE GOING FOR A WALK” - EDWARD WESTON

PLATFORM D

PLATFORM D Denver’s Union Station has a long and notable history having first opened in May of 1881 and establishing Denver as a gateway to the west. However, as time passed and traveling by train became less relevant, it became clear that the nowhistoric Union Station was in need of redevelopment. While many facets of the facility were included in this redevelopment plan (including renovating the entire inside of the original building), it was specifically the train platform and canopy that caught my attention and became the main study of this series of imagery. Though the historic building still stands tall and remains an architectural fixture for Denver, I believe it is the old-meets-new architecture that really sets this train station apart from all others. Officially re-opening on July 26, 2014, this arch-like architecture is truly stunning to see and it became my goal to capture this experience at night, when lit from below and void of pedestrian traffic. The sheer size and enormity of the structure is a lot to absorb all at once; however, my objective was to do just that. My vision was to have absolute focus on the platform and canopy by being placed against a black sky, thus enabling this giant structure to jump out of each image. Using several wide-angle lenses perched at appropriate locations coupled with post processing techniques, I feel my vision has been realized. I hope you will enjoy Denver’s Union Station as I have expressed it within the “Platform D” series of imagery. Cheers!

“WHEN WORDS BECOME UNCLEAR, I SHALL FOCUS WITH PHOTOGRAPHS. WHEN IMAGES BECOME INADEQUATE, I SHALL BE CONTENT WITH SILENCE.” - ANSEL ADAMS

ACE OF SOLIT

SOLACE OF SOLITUDE The simple truth is that there are just times in our daily lives that finding some peace and quiet does not seem to present itself. I feel extremely lucky in the fact that I can more easily find this needed time alone when I am out photographing Mother Natureâ&#x20AC;&#x2122;s beauty. It is this solitude that allows me to think more clearly than at any other given moment of the hectic hustle and bustle of daily routines. As a visual artist, I communicate my thoughts more clearly through imagery than the spoken or written word (probably evident in this write-up). However, it is paramount that I find solitude in order to allow these visions to present themselves to me in the first place. Solitude, for whatever reason, seems to carry such a negative connotation. I suppose if this solitude is never-ending then it would indeed be negative. But there can also be solace in these moments alone, void of noise and visual interruptions. It is in this solace that I am able to reach deep into my vision and see more clearly what it is that I want to communicate in the first place. I tend to fumble over my words, but as soon as I can point a camera at something, I know immediately how to speak it visually. My objective in the â&#x20AC;&#x153;Solace of Solitudeâ&#x20AC;? series is to show that there can be comfort in an otherwise desolate environment. I have found my comfort and I sure hope that these few images from this series help you to find yours as well.

OLITHIC MOVE

MONOLITHIC MOVEMENT Is it possible to reveal the sheer essence of time in a two-dimensional space such as a photograph? It turns out that it is, even in general photography - that is to say if this general photography is of something that shows the effects of time throughout history, such as lava flows, decaying structures, and sandstone rock formations like the ones found in my “Monolithic Movement” series. I am always amazed at the sheer beauty and absolute power behind the creation of such enormous, naturally occurring monoliths rising straight up out of the ground below my tripod. These structures are formed over the course of millions of years, which is easily seen in the curves, stacks, and movement of layers within the rocks themselves. However, this was simply not enough, in my minds eye, to bring forth this essence of time. My objective in this series is to not only reveal the effects of time as it has occurred in the past, but to actually capture it as it is happening directly in front of me at the given moment. By using long-exposure techniques, I am able to capture the passage of time within the movement of the sky above. It is this mirrored-movement in both rock and sky together that best portrays the power of Mother Nature at work. Heat, wind, and water are the driving forces of these two natural occurrences, one in our immediate presence, and one that we can only witness in its aftermath. Regardless, what you are seeing in this series is not only nature’s beauty… you are seeing TIME!

RISE

CATHEDRAL

ASCEND

“THE ANTICIPATION OF WHAT IS YET TO ARRIVE TAKES A LIFETIME TO OVERCOME, BUT BEING OVERCOME WITH ANTICIPATION ONLY TAKES A MERE SECOND” - KEVIN HOLLIDAY

AWAITING

“TO LOOK BEYOND DESOLATION AND FIND PEACE IS THE PINNACLE OF COMFORT WITHIN ONESELF” - KEVIN HOLLIDAY

DESOLATE DESPERATION

CROSSING DARKNESS

“PHOTOGRAPHERS HAVE THE ABILITY TO SEE EXTRAORDINARY THINGS BURIED WITHIN THE MUNDANE, WHILE ARTISTS HAVE THE ABILITY TO REVEAL THAT BEAUTY TO OTHERS” - KEVIN HOLLIDAY

INSPIRED

“OF COURSE, THERE WILL ALWAYS BE THOSE WHO LOOK ONLY AT TECHNIQUE, WHO ASK ‘HOW’, WHILE OTHERS OF A MORE CURIOUS NATURE WILL ASK ‘WHY’. PERSONALLY, I HAVE ALWAYS PREFERRED INSPIRATION TO INFORMATION.” - MAN RAY

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