Forgotten Music: “Clarinet Version 3”

a photographic study of an old clarinetClarinet Version 3. 

“The more pictures you see,  the better you are as a photographer.”  Robert Mapplethorpe

I’m pleased to announce the framed print and other home decor items;  “Clarinet Version 3,” is now available at Fine Art America and is part of my “Forgotten Music” series.  Drop by, leave a comment and of course purchase a copy.

As a bonus, until December 31, receive a 30% discount on all my imagery at Fine Art America. All you have to do is type in the discount code when asked: RRTVYP.  For Fine art prints, email me your particulars along with your order information and I promise to mail you a small certificate of authenticity with the title and my signature which you can then attach to the back; adding provenance and a increase to the value of the print.

 I am now investigating the relativel new social media platform  Tsu is an invite-only platform that rewards social activity for all users.You can share photos, videos, and any type of content with your friends and followers.  While I find some entries juvenile and alot of photography not so good, I do find jewels and there is hope.

Tsu really does believe in quality content, real ownership, and the value of one’s own network. They recognize members for their likeness, image and content.
As compared to Facebook Tsu content creators earn fair value for all the social things they already do.  The community gets up to 90% of all revenues, it’s our content we own it.

Reasearch it on the web and after you do use this link as your personal invitation:

Enjoy the image, leave a comment, “+” it, share it across the social media universe and I’ll see you on

Vice grips


Vice Grips, a photographic study of old used and abused Vice Grips inspired by the magazine work of Walker Evans.

Walker Evans was one of the most important and influential artists of the twentieth century, producing a body of photographs that continue to shape our understanding of the modern era. He worked in every genre and format, in black and white and in colour, but two passions were constant: literature and the printed page.

While his photographic books are among the most significant in the medium’s history, Evans’s more ephemeral pages remain largely unknown. In small avant-garde publications and mainstream titles such as Harper’s Bazaar, Vogue, ArchitecturalForum, Life and Fortune he produced innovative and independent journalism, often setting his own assignments, editing, writing and designing his pages. Presenting many of his photo-essays in their entirety, Walker Evans: The Magazine Work assembles the unwritten history of this work, allowing us to see how he protected his autonomy, earned a living and found audiences far beyond the museum and gallery.

David Campany

The career of Walker Evans stretched from 1928 to 1975, perhaps the most important period in the history of photography. In the 1920s the medium asserted its modern significance, spreading to every corner of culture via the growing illustrated press, becoming an art both popular and avant-garde. In the early 1970s, as the power of the illustrated press began to wane, photography secured its place in the museum and gallery. Evans was first published in the American cultural journals of the late 1920s and 30s. After the war he worked for Fortune for twenty years. He also published in Harper’s Bazaar, Vanity Fair, Vogue, SportsIllustrated, Flair, Mademoiselle, Architectural Forum and Life, among others. Where possible he set his own assignments, did his own editing and design, and supplied the accompanying words. A brilliant and idiosyncratic writer, he also penned appreciations of photographers and painters he admired, and wrote reviews forTime magazine and The New York Times.

Although Evans began to exhibit his work around the same time that he began to publish, he did not have many shows in his lifetime. He was uneasy with photography as art and cautious about his image as an artist. He did not even attend the opening night of his now legendary solo exhibition at the Museum of Modern Art in 1938 (but he did lock himself in the night before to ensure the complex sequence of images on the walls was as he wanted). He was just as ambivalent about the printed page. In letters to friends he railed against the crass populist press and compiled for himself a scrapbook of its worst offences. Nevertheless he was formed and fascinated by printed matter, and felt even the most conservative publishing empire might afford the space to make good work with a resistant attitude.

Little of Evans’ magazine work is well known. Unlike a museum’s holdings, or even photographic books, magazines are ephemeral. They are expected to have a short shelf life and when it expires they often take with them the most revealing culture of their time. Despite his long working life most of the photographs upon which Evans’ reputation still rests were made in 1935 and 1936, in the American south. It was an intensively creative period in which, well paid and well resourced for the first time in his life, he focused on the making of pictures that were formally ambitious and layered in meaning. His output was prodigious. He loosened the directives set for him by his commissioners, the U.S. government’s Resettlement Administration (later the Farm Security Administration) and Fortune magazine. Deferring the question of use the images piled up. Perhaps inevitably they came to the museum as exemplary photographs in the “documentary style”, as Evans called it. After the 1930s he did reach those pictorial heights again but he never surpassed them. This is not uncommon among even the greatest photographers. Many achieve their best work early. Either they try to sustain it, which often proves difficult, or they leave for something else.

Evans’ path was different. As his career developed, his commitment to photography extended far beyond the single image to take in the whole craft complex of modern photographic culture. Rather than simply shooting and handing over his pictures to editors or agencies he sought to take much more control. This included editing, writing, design and typography and the development of an acute sense of context. In his first decade (1928–38) he mapped out for himself the enormous possibilities of sequencing and image-text relations. He also established his chief interests: America’s anonymous citizenry and vernacular culture, those emblems of resistance to the creeping values of celebrity, corporate business and consumerism. These interests became passions, explored slowly and carefully across an entire career in print. This is what makes the magazine work such a significant and lasting aspect of Walker Evans’ achievement.

An excerpt from the introduction in Walker Evans: the magazine work by David Campany

This image is available, printed on metal at and at as a art print ready to be matted and framed.  As usual feel free to share this image across the social media network, let your friends and acquaintances know about my work, leave a comment, join me on social media, and register for my newsletter for upcoming specials and giveaways.  Enjoy!

Mechanic’s Wrenches


You do not need exotic locations, expensive items, or provocative ideas to create art. You don’t have to be a painter, sculptor, or photographer to be an artist either. Subsequently, by their acts of creation; the mechanic, plumber, carpenter and electrician become creators and artists in their own right. Their everyday tools also become pieces of art themselves.

The beauty and interest of these tools lies in the details of the pieces themselves, each having their marks and abrasions telling their own individual stories. The pieces portrayed here are part of a collection from my brother; a retired electrician, my father, and my step father. Each piece is filled with personal memories both good and bad, the scars of being abused by children, and the marks left by heavy use including purposes they were never intended for. Each piece has a story to tell, often overlooked, but pieces of art in their own light.

This photographic still life of wrenches printed on metal is available at, matted framed and printed on canvas or paper at, or a version with a printed film border is  available at  Enjoy and as usual feel free to comment and/or share across the social media universe.

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