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Jeremy Green “Little Thrills” 4/15/25

A brass table and cigar ashtray on the patio were filled with rain water, reflecting a clear blue, morning-after sky. I dropped a leaf in the ashtray and thought it worthy of a photograph. Further, maybe worth a mention, for a flat-field plane of focus I used a Hasselblad Distagon 50mm f:4 FLE lens wide open @ f:4 coupled to a tilt/shift adapter on my 35mm camera. Looking through the viewfinder I got a little thrill(!). I love it when that happens. Things were of a Divine Proportion.

Jeremy Green “NightShade” 7/25/23

One night not long ago but very far away, I pulled down the nightshade in my hotel room, and the distant lights outside shown through as little dots of color on the shade in an otherwise rather drab place.

Jeremy Green “The House of Ply” 6/5/23

This unfinished house, sheeted entirely in plywood, was across the street from the AirBnB where I was recently staying. It was a bit larger than the surrounding houses and lacked decorative vegetation or variance of color. It stood out, and over the few days I was around I used it as a landmark to know when I was getting close to my temporary home. I was on assignment in this town to illustrate and glorify a large architectural piece of infrastructure, a bridge, as a work of art. That probably influenced my sensibilities. I grew to like this house and dubbed it “the house of ply.” At a certain time of day the sun and shadows isolated the structure, and I wanted to make this photograph in black and white. By the time I left I wished that the house would be coated entirely in shellac as is…as an art piece…and call it a day.

Jeremy Green “Holy Cow” 1/7/23

The sky is so rich with stars and planets on dark nights in the Big Bend of Texas. I’m out in it again, this time for Condé Nast instead of just for myself. There is so much nothingness that everything takes on significance. Last time I was here a few months past, there was no moon unlike tonight’s bright moonlit sky, and this longhorn icon had a blanket of the Milky Way behind it. I wanted to get it all in, but the only way to do that in a single photographic frame was to shoot a grid with a very wide lens and stitch it together. In this way I got just what it looked like.