For some time, I have been photographing portions of the deteriorated and weathered paint on the hulls of sailboats left in outdoor winter storage as abstract compositions. That series is called "Painted By The Elements" and appears as another body of work in this Abstract Gallery. Recently I began to experiment with photographing those surfaces using the technique of in-camera multiple exposure. It is a technique I use in much of my other work, which involves shooting two or more images and merging them into a single digital file all within the camera. But this is the first time I have applied it to this subject matter. I am extremely excited about the combination of these deteriorated surfaces and the in-cmaera multiple exposure technique. It allows me to truly compose a highly abstract, painting-like image in my camera. In composing these images in this manner, I am sometimes working from a preconceived compositional idea, and then striving to realize it by carefully selection exactly what portion of the subject matter to shoot for the first of the images to be merged and framing it carefully, then selecting the next portion to shoot (which may or may not be on the same surface as the first) and carefully positioning that shot in the frame, and so forth, until the desired number of images are shot and merged. Sometimes I am shooting nearly spontaneously, acting on instinct as I go. And sometimes, it is a combination of the two. All of these images are, to my way of thinking, multidimensional. To some extent, the multidimentionality is self-evident since the final composition results from combining two or more images into one. But the multidimensionality also comes from the fact that they are, on the one hand, simple photographs of painted surfaces, but on the other hand they are abstract images in which I have "seen" various shapes, likenesses, feelings or other things of interest in each of the separate shots and brought them together into a new relationship to provide a resultant abstract composition with a composite meaning or feeling from the sum of its parts. And, in the final analysis, no matter what I "saw" or felt when I created them, they invite the viewer to derive their own feeling or reaction, which may well be far different from mine. That is, clearly, multidimensionality. And that, to my way of thinking, is the true beauty of abstract art. As you look at each of these, you may want to ask yourself questions like..What do I see in this image? What is evident, and what is suggested or hiding in its depth? Does it arouse any feeling or emotion in me? What do I think of as I look at them? And how do some of them parallel or contrast one another? The invitations to experience, imagine and feel are limitless in abstract art. Part of a continuing body of work.

In the midst of packed city streets people move about almost as though no one else is there. Eye contact is avoided at nearly all cost. But, sometimes, just once in awhile, humanity's need for human contact prevails and a chance or intended glance is exchanged. If you look carefully at these in-camera multiple exposures you just may be able to find one or two eyes looking at you, or looking at someone else in the crowd, from A Face In The Crowd. This series was composed standing on a bench in Times Square using a hand held digital camera and shooting multiple images of the same scene which combined in camera to form a single image. It is multiplicity of action, direction, intensity, subject and image, all in one. The first 12 of these images were included in a portfolio of in-camera multiple exposures which was selected as a Black & White Magazine 2015 Portfolio Contest winner and which also received the magazine's Portfolio Spotlight Award. This work is featured in a four page article in the magazine's October 2016 issue, Issue #117, which went on newsstands in August. The article is also featured on line at Black & White Magazine's website at http://bit.ly/2aP0zJZ which includes a full page discussion of the work and what drives my photography, as well as four of the imagers from the winning portfolio. This is a continuing body of work and will probably be produced as a photo book at some point. Prints are available in both limited editions and open editions, depending upon size.

WARNING: The images in this gallery contain photographs of the human body. While none of the images show genitals, some may show portions of breasts, and images could conceivably be objectionable to some. You may not view these images unless you are 21 or older. These images are in-camera multiple exposures done in the studio using one or more people in interrelated posing, mostly planned in advance, with a desired compositional result and portrayal in mind. To make the images, a subject is placed in a given position, the shot is taken and then another position (somehow related to the first) is taken either by that subject or another (in which case the first subject leaves the shooting area) and another image is taken, and on and on until conclusion. The multiple images combine and merge "in-camera" into a single image. Occasionally, the subject remains stationary and the camera is moved as it takes each exposure, with all shots combined into a single image in the camera. Not at all as easy as it sounds. The first image in this gallery was selected as a winner in Black & White Magazine's 2015 Single Image Contest. The images in this gallery were all taken with a digital camera. I have made a few human form in-camera multiple exposures with vintage medium format and 35mm film cameras for an entirely different look. You can see those in the Black & White - Film gallery on this website. This is a continuing body of work. Prints are available in both limited editions and open editions, depending upon size.

This is an on-going body of work using in-camera multiple exposures to photograph trees that began as my fall 2016 Adirondack landscape work. As the work progresses, I am continuing to explore subtle differences in the way in which I am shooting and the point of view of the compositions I am making . But the basic concept remains the same - using in-camera multiple exposure to create compositions made from two or more photographs of portions of trees to form an abstract rendition of what I feel from the tree or trees I see. The images shown here are only some of the many, to show a sampling of the work. There is still much processing and selection to do. I will continue to post new ones, frequently on instagram.com/carlrubinophotography, and later here. At some point, I will organize exhibitions of this work. But for now, I am focusing on continuing to shoot it, and processing selected images from my field trips here in my Adirondack "back yard". Finding new inspirations from the natural and constructed world around us is a large part of what I am about in photography. Finding my own way to envision landscape photography in the Adirondacks is a big part of that challenge. Creating work like this is what drives me to make photographs. Following intuition until it leads to discovery. I love putting a new twist on an old theme. Fall colors re-constructed.

This series was named a winner in Black and Whlte Magazine's 2016 Portfolio Contest and also received a Merit Award in that contest. Four of the eleven photographs in the winning series were published in the magazine's August 2016 issue, Issue #116, on stands in June of 2016. The series uses slow shutter speeds to make long exposures with movement by one or both of the subjects during the exposure...What is it about? That's up to you. Prints are available in both limited editions and open editions, depending upon size.