Patterns:
Examples of their influence on the photographs of Rick Doble




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Microscopic Photo of Onion Cell

Microscopic Photo of Onion Cell
Two Galaxies Intertwined

Two Galaxies Intertwined
Example of How Moire Patterns Work

Example of How Moire Patterns Work
Mosaic in the Dado of the East Side of the Tower of Comares, Alhambra
Mosaic in the Dado of the East Side
of the Tower of Comares, Alhambra Giclee Print

Murphy, James...
Buy at AllPosters.com
Bentley Microscopic Photo of Snowflake

Bentley Microscopic Photo of Snowflake


Pattern Created By Photographing A Ferris Wheel With Movement

Pattern Created By Photographing A Ferris Wheel With Movement
Pattern Created By Photographing A Ferris Wheel With Movement

Pattern Created By Photographing A Ferris Wheel With Movement
Pattern Created By Photographing Street Lights Through A Windshield With Rain

Pattern Created By Photographing Street Lights Through A Windshield With Rain
Pattern Created By Photographing Lights Reflected In Water While Moving The Camera

Pattern Created By Photographing Lights Reflected In Water While Moving The Camera
Pattern Created By Photographing A Crack Of Light While Moving The Camera

Pattern Created By Photographing A Crack Of Light While Moving The Camera
When I was 11 years old, I bought a simple astronomical telescope. Soon after I bought a simple microscope. So at an early age I grasped a number of important skills and concepts: I worked with and understood optics which would become central to my photography. In addition I was looking at both very large and very small things and became enthralled with the natural beauty of their abstract patterns. In short I was looking at the world from a micro and macro point of view -- both of which revealed stunning visual designs. But these patterns were, in a sense, just a continuation of the patterns I had been studying since I had been born. We had lived on the beach in Florida and then on the water in Wellfleet, Cape Cod MA. I often studied the sand patterns, patterns that were formed by the wind or by the water. Later my father bought a house in Sandwich MA that was on a pond and where I spent hours looking at the ripples in the water and also how the various ripples interacted and then how the movement of my row boat created ripples that added another layer. In the late 1960s I bought a moire pattern 'kit' from Edmund Scientific Corporation (and maybe still available). I spent many hours playing with the interaction of patterns and learning how layers of patterns create new patterns. In 1969 I spent some time in Spain and visited the Alhambra Palace twice spending a total of four days there. When I saw the intricate tile designs, I knew I was looking at something special and it turns out that the Alhambra Islamic artists mapped out virtually every possible combination of six sided quasi-crystals. Moreover many of these patterns could be repeated and continued indefinitely, stretching to infinity -- and the Islamic sensibility is such that I believe this sense of the infinite was what they intended as it is a continuing motif in their work. Around 1997 I bought the book of Bentley's microscopic snow flakes photographs. I played with these by scanning them in and then colorising them. In short understanding and observing patterns has been central to my work and is a theme that I use in a variety of ways.



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