Lauren DeRosa

photography

Pinhole

a black and white pinhole camera photograph with a large amount of curvature distortion except at the center of the image; a woman is sitting on a bench in the sun under a tree in front of a wrought iron face; there is a brownstone building’s entrance on the left and a street on the right with parked cars; there is a flowering cherry tree overhead casting dappled shadows on the concrete paved ground.
Student on a bench, 2009, quaker oats can camera
a black and white pinhole camera photograph with a large amount of curvature distortion except at the center of the image; a path leads from the paved surface in the foreground to the center of the image; the path is lined with large trees, bare in winter; there are two streets on either side of the mall, and buildings lining the streets; the building visible furthest an the right side of the image is the first baptist church of boston
Comm Ave, 2009, quaker oats can camera
a black and white pinhole camera photograph with a large amount of curvature distortion except at the center of the image; this is a photograph of the stainless steel milk pitchers sitting on a barista’s counter in a coffeeshop; most of the image is too distorted to discern except for the milk pitchers but there are stacks of cups, the espresso machine, and the menu boards to the left and a shakers of cinnamon to the right; there are trails of light showing that during the exposure of the image, the milk pitchers were moved by the barista
Milk Pitcher, 2008, film canister camera
a black and white pinhole camera photograph with a large amount of curvature distortion except at the center of the image; there is a small broken triangle of white at the top towards the left, the rest of the top third of the image is black and unexposed; the bottom of two window frames emerge from the black; at the bottom in the center a person dark straight shoulder length hair sits in a stairwell facing away from the camera and down into another unexposed void; the railings curve down to the void; a lower set of window frames is visible in the lower left corner
Back Stairwell, 2005, quaker oats can camera
a black and white pinhole camera photograph with a curvature distortion around the edges; on a rubber floor with raised circles, in a corner, approximately ten white feathers are strewn in a loose group; the walls are grey, there is a small bead of trim between the wall and the floor
Feathers, 2005, quaker oats can camera
a black and white pinhole camera photograph with a large amount of curvature distortion except at the center of the image; the photo is shot at a diagonal angle on the ground and shows the alley behind a brownstone building in back bay in winter; the alley is lined with dirty snow; a figure in the center of the image stands far away from the camera and facing away
Alley, 2005, quaker oats can camera
a sepia-tinted black and white pinhole camera photograph with a curvature distortion around the edges; the photo is a still life showing an elongated cylinder, an unmarked jar filled with powder, and a magnifying glass on an adjustable stand; the items are arranged in the window well of a window set in the side-roof of a brownstone
Still Life, 2005, tea tin camera

35mm

a black and white, sepia toned, 35mm print with messy edges that show bits of the sprocket holes; there is a large, curved and jagged piece of driftwood floating in the water in the foreground, somewhat shaped like a w; it is sunny and there are a few ripples on the water’s surface; the horizon is just above the lower third of the image; there is a curved wisp of cloud in the sky; in the mid-ground, at the horizon line, sticking out from the right side of the image, is a short strip of land with leafless trees; in the background the silhouette of ross island sand and gravel is viable along the horizon line
Ross Island, 2019, Argus C3
a 35mm color print with messy edges that show bits of the sprocket holes; the image is a double exposure of a person standing in the center of the frame overlaid the top of a spruce tree; the overcast sky behind the tree is fully exposed, so only the overlap with the tree branches is visible from the shot with the person; they are wearing a purple quilted parka and are holding a bow saw; their hair is brown with bleached tips and is in a bun; they are standing and looking at a 45º angle away from the camera towards the right side of the image; the ground they are standing on is dead grass and there is a base of a spruce tree somewhat behind them
Christmas, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges that show bits of the sprocket holes; two hillsides roll away from the camera; small spruce trees dot the fore and mid ground, and in the background leafless trees are viable over the horizon; the ground is covered in dead grass; the sky is overcast; some of the trees are transparent, double exposures
North Shore, 2018, Argus C3
a 35mm color print with messy edges that show bits of the sprocket holes; the lower third of the image is water sparkling in the sun with a small red buoy floating a ways off towards the left side; the middle third shows the pilings, arches, and suspension cables of multiple exposures of docks and bridges; the upper third is mostly sky which is sunny with some clouds and hazy; on the right of the image, faintly in the foreground are two large pilings connected by a beam; on the left side the shiny round hull of a submarine that is part of OMSI is partially visible
Willamette, 2018, Argus C3
a black and white, sepia toned, 35mm print; at the bottom of the image a woman’s head and shoulders are visible; she is standing in a botanical garden greenhouse facing away from the camera, looking back over her shoulder; she is partially obscured by large leaves out of focus in the foreground; there are many plants in the background and on the right; the background is the lattice of the greenhouse roof, behind which is overexposed
Berlin, 2018, Argus C3
a black and white, sepia toned, 35mm print; the entire frame is filled with greenery and a person is barely viable in the center of the frame; there is a large, brightly lit palm frond in the bottom left quadrant curved towards the camera in the foreground, and everything else is set at the mid-ground and is slightly more shaded but still sunny
Berlin, 2018, Argus C3
a black and white, sepia toned, 35mm print; the image is a hectic double exposure inside a botanical garden greenhouse; the lattice roof curves domelike to the ground on the right; on the left the floor curves between short, subway-tiled walls that contain botanical exhibits; tall reeds grow from behind the wall in the center of the image; on the right side a woman holding a coat stands facing the left side, looking at the camera
Berlin, 2018, Argus C3
a black and white, sepia toned, 35mm print; the image is a hectic double exposure: one image is the surface of the water with faint ripples and sunlight on the surface reflected through trees; the other image shows a man looking at the camera in the center of the frame at the bottom, his head and shoulders visible; he stands in front of a canal with trees growing behind it
Berlin, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges the image shows a bird taking flight away from the camera in a sunny marsh; the image is divided roughly into fifths from top to bottom: clear sky, trees, marsh, tall grass, faintly rippled water
Parker River, 2018, Argus C3
a black and white, sepia toned, 35mm print; slightly wavy water at high tide in the foreground fades into overexposed marsh grass in the background
Parker River, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges; three similar images looking down a river from a boat are exposed, with the camera shifting vertically between exposures; the bow of the boat is visible in the bottom left corner, only in one of the exposures. there are trees in the distance and trees on either side; the sun is shining on the water
Parker River, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges; the image is double exposure of the bow and stern of a boat; on the transom in white cursive letters it says rising sea below in serif lowercase: newbury, ma, MS 4222 BD; there is a strip of land and trees in the background
Parker River, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges; the image is double exposure of the mast and lines against a clear sky overlaid on an image of the stern of a boat in a harbor; on the transom in white cursive letters it says rising sea, below in serif lowercase: newbury, ma; there is a strip of land and trees in the background
Parker River, 2018, Argus C3
a black and white, 35mm print with messy edges; the image is a double exposure shot from inside a small aluminum outboard motor boat; one image shows the oar rest and the side of the boat in the bottom right corner and the rest of the frame is foam and water next to the boat; the other image shows the sump and the light and shadows in the bottom of the boat
Parker River, 2018, Argus C3
a black and white, 35mm print with messy edges; the photo is shot from inside a small aluminum outboard motor boat; one image shows the oar rest and the side of the boat in the bottom right corner and the rest of the frame is foam and water next to the boat except for a small strip of clear sky at the top of the frame; the foam spray is splashing up out of the water and is sharply focused against the blurry dark waves in the background
Parker River, 2018, Argus C3
a black and white, sepia toned, 35mm print with messy edges; the image is a double exposure; one image shows a lamp pole, the lamp is on during a partially cloudy day; the lamp pole stands in front of a strip of corrugated metal at the bottom of the frame, which is in front of a shingled roofline; there is a tree in the top left corner, and on the right some ducts bars come out of the roof; in the second image a person is standing overlaid with the lamp pole; the light shines where their face would be, but the sky from the other image obscures the exposure of their head
Belmont, 2017, Argus C3
a black and white, sepia toned, 35mm print with messy edges; on the left, a man stands in front of a cement wall, he has shoulder length haid and is looking down and out of focus; on the wall there is a large tangle of vines on the right and a 5x6 grid of glass bricks built into the wall on the left; in the top left corner there is a small sliver of sky above the wall
Belmont, 2017, Argus C3
a black and white, sepia toned, 35mm print with messy edges; the image is a double exposure: one image shows out of focus vines growing on a wall, and the other image looks down an alleyway into the sunset, underneath an exterior stairwell
Belmont, 2017, Argus C3
a black and white, sepia toned, 35mm print with messy edges; the image is a double exposure: one image shows a utility pole with loose wires hanging from it, and the other image, only visible where it is overlaid with the pole, shows some corrugated metal and dirt
Belmont, 2017, Argus C3
3a black and white, sepia toned, 35mm print with messy edges; the image is a double exposure where a wide angle and zoomed in shot of the same subject are overlaid: a man stands in the center of the frame facing and looking to the right; he is standing in from of a cement footing for st. john’s bridge; the ground and some tree branches are visible on the left and right edges
Cathedral Park, 2017, Argus C3
a 35mm color print with messy edges that show bits of the sprocket holes; out of focus directly in front of the camera is a grid mesh on the railings of a ferry; the sky is overcast, but the moon is visible; the sky takes up slightly more than half the top of the frame; there is a thin strip of land between the sky and the water populated by dense lights on the left that dim and disappear on the right side; the moon shines off the waves in the water, which curve towards the land
Bainbridge Ferry, 2015, Nikon
a black and white 35mm print; on a street in budapest (pest) white spray paint graffiti on a metal, roll-up door looks like large keyholes or a row of ghosts; above the door is a cast iron great in a semi circle; in front, on the left a truck trailer leans forward with magyar text and numbers printed on the canvas shell; on the right a small white car is parked; behind the truck is a doorway with a.cast iron grate above a sign with an owl that reads: Ex-Libris: ANTIKVÁIUM
Pest Street Art, 2011, Nikon
black and white 35mm print; on a street in budapest (buda) built into the hillside; the photo is shot looking down a hill and the road curves to the right and behind the iron fence on the right; there are sidewalks on bath sides and street lamps on the right; on hte left above the road is a stone retaining wall securing a vegetated slope above with many leafless trees that curve out and over the road; the overcast sky is visible in the top right corner above trees growing below
Buda Hillside, 2011, Nikon

Medium Format

a medium format color photo with a black from around the exposure, which is slighgtly off center; it is high tide in a tidal river, the water is as high as a trees roots; the foliage of the ttree is visible in the background in the top left corner; the gnarled roots come from the right top, and there are bits of sky visble above; there is a diagonal division through the image from the top left corner to the bottom right, and everything below that line is gushing silty water; slightl above the center of the image, the roots form a darkened recess of a cave
Willamette, 2017, Diana F+
a medium format color photo with a black bar beneath the exposure; an exposure of the sand in the tidal recession is overlaid on an exposure of an assemblage facing the sea; the smooth sand traces the faint edges made by the final waves the reached that far up the beach as the tide went out; the assemblage is constructed of four sticks and the empty, dried egg sack of a horseshoe crab; a long stick, parallel to the ocean is balanced on and suspended between two shorter sticks stuck in the sand; a thin stick appears to lean back onto the longer stick, but it actually in planted firmly at an angle just below
Plum Island, 2017, Diana F+
35mm Photo 1
Overpast, 2017, Diana F+
35mm Photo 1
Southeast, 2017, Diana F+

Digital

35mm Photo 1
Sump, 2019, Nikon D100
35mm Photo 1
Channel Light, 2019, Nikon D100
35mm Photo 1
Belmont, 2017, Nikon D100
35mm Photo 1
Olympia, 2018, Nikon D100
35mm Photo 1
Tumwater Falls, 2018, Nikon D100
35mm Photo 1
Tumwater Falls, 2018, Nikon D100
35mm Photo 1
Belmont, 2017, Nikon D100
35mm Photo 1
Willamette, 2019, Nikon D100
35mm Photo 1
Labor-in-Vain, 2016, Nikon D100
35mm Photo 1
Labor-in-Vain, 2016, Nikon D100
35mm Photo 1
Tumwater Falls, 2018, Nikon D100
35mm Photo 1
Tumwater Falls, 2018, Nikon D100
35mm Photo 1
Rising Sea, 2017, Nikon D100
35mm Photo 1
Air Museum, 2018, Nikon D100