Welcome to my website.
What you’ll find here is a view of our world through a different pair of eyes. In many cases, my images may appear quite straightforward and familiar; but they are always, I hope, compelling. Others offer unique views of commonplace subjects, which I like to think of as being “hidden in plain sight.” And some, like my Cliché Verre images, are completely abstract and subject to your own interpretation, while my 'Digital Distortion' portfolio offers a blend between reality and fantasy.

My goal is to create interesting, satisfying pictures which please both the eye and the soul, encouraging exploration and reflection.

There are more than four hundred images here, divided into fourteen portfolios roughly by subject. All you have to do is click on any of the thumbnails at the right, and you'll be whisked to that portfolio. I hope that you enjoy my pictures.


All artwork is protected by copyright. Please contact me if you are interested in obtaining the right to use my images.

All images and content ©1970-2017 Murray Bloom


News

Some kind words from Arthur Ransome:
Arthur is a photographer whose work I admire. He recently wrote to me about the images on this site.

"I am amazed at the breadth and depth of your photography. Many photographers have their “favorite” topics or subjects, and although they try to diversify, it is pretty obvious what their favorite subjects are. This is not the case in your photography. You have established a great “identity” and have defined a style that you seem to be equally comfortable applying to any subject or topic, irrespective of whether it is an exotic location or something that many people would not even notice.

The detail in your work is amazing - textures, shapes and lines are truly stunning. Your color images are all about the color – you have a very unique way of using color to emphasize your subjects. I found myself looking at many of the photographs wanting to know more about the subject - to see the sights and to hear the sounds . . . "


Thanks, Arthur
From Jack Wilgus
Jack Wilgus was Chair of the MICA Photography Department for many years. Recently, after seeing some of my images on Facebook, he sent me the following message:

"I have been looking at your photographs on Facebook for some time. The ones that superimpose the eyes and face over a tree bark or metal wall work well. The one titled "Haunted" is striking! Your images of train abstractions are very sculptural and the textures and colors are visually exciting. I really like this group. Also your architectural images of exteriors and interiors are a strong ongoing series. Your selective seeing and use of color are impressive. I am very favorably impressed by your portfolio of digital images shown here."

Thank you, Jack

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And from Hal Shull . . .
Harold (Hal) Shull is an artist and illustrator whose work has appeared on book covers, movie posters, and advertisements. He's also a terrific painter. He recently commented on my work, and I thought I'd pass it along.

"Beautiful shots Murray. You manage to take pictures of old and rusty objects and put new life into them. I can always tell a master's touch by the character in his pictures; and Murray, every photograph I have seen of yours abounds with character. Ansel Adams had a keen eye for landscapes and living things. On the other hand, you have a keen eye for lifeless objects that, when photographed by you, tend to develop a life of their own."

Thanks to you, too, Hal

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The Online Store is Here
Most of the images on my website are available for purchase, framed or unframed, in a variety of sizes from small desktop prints to pictures large enough to become design elements in virtually any room or interior space. They are available printed on traditional photo papers (in a variety of finishes), on stretched canvas, and now on acrylic and metal substrates.

If you see an image you'd like to own, just click on the purchase link below it and you'll be taken to that picture's order page, where you can choose from numerous options and sizes. Your satisfaction is guaranteed by an unconditional 30-day return policy. If, for any reason, you decide not to keep the image, simply return it.

I’m also working on digital frames pre-loaded with a variety of images that you can select.

Gallery

Bark Spirit Details
Spotting details is a large part of what makes photography so enjoyable for me. Finding a special angle or the ‘perfect’ crop can tell a story, share a vision, or create something entirely new.
Coming Home Digital Distortion
Most of these images began life as traditional photographs. They have been given new life with a bit of digital tinkering.
Mechanical Depth Machines
Some machines are designed to be stylish, others simply to do a job. I try to show them in a different light, divorced from their natural purpose with a life of their own.
P-51D Mustang Aircraft
I've always been fascinated by military aircraft as both examples of the state of their technological art as well as functional sculpture.
7402 Railroad
I grew up loving trains, admiring their power, speed, and grace. However, when it comes to photographing them, I am, as usual, drawn to the details. I’m blessed to have one of the country’s premier railroad museums nearby, with a treasure of railroad equipment in conditions ranging from shiny and new to total disrepair. A gold mine for sure!
Cracked Headlamp Vehicles
Vehicles are no doubt the most deliberately styled machines there are. Rather than photograph their innate beauty, I try to highlight evidence of the lives they’ve led as well as their interaction with their environment.
Nesting Gull Nature
The natural world is a favorite subject for many photographers. I use a variety of approaches in order to, hopefully, present natural subjects in appealing and fascinating ways, which often rely on a certain visual intimacy. Also, one can’t dismiss the presence of luck when working with living subjects.
Stacks Architecture & Buildings
There are many ways to photograph structures, ranging from straight documentary images to complete abstraction. I try to make my building pictures interesting in ways that bring them to life by enhancing, rather than echoing, their presence and visual character. This can be accomplished either in the camera, when processing the image, or both.
Window Vines Building Elements
Windows and doors have long been a photographic staple. I, too, like to shoot these and other structural elements, then employ my post-processing skills to give them a personal touch.
Heavy Sky Landscapes
Landscape photography may be the easiest to do, yet the most difficult to do really well. Photographers travel to the most picturesque places on Earth and return every day with stunning images. While landscape photography is not my specialty, I often try to return with something that captures the essence of wherever I happen to be.
Twilight Zone Carhop People
I spent many years photographing product models and local celebrities. That sort of photography tends to bend the person to the purpose of the shot. Lately, I’ve become interested in a more documentary approach, illustrating the subject within their own realm. And then, there are the mannequins . . .
Morgue Door Asylum
Forest Haven is a former asylum for the mentally retarded, located near Laurel, Maryland. It housed 1,100 patients before being closed in 1991 and subsequently abandoned. There was a long history of brutality, exploitation and abuse at the place; and once inside, imagining what occurred within the deteriorating walls is powerful and visceral. These images are the beginning of a continuing project.
Eating Smoke Fire!
I don't think of myself as a photo-journalist. But when a fire broke out just before dawn in one of two vehicles parked between houses in my neighborhood (damaging both homes), I saw the smoke and flames rising into the sky and hurried out to see what was happening, grabbing a camera on the way out. The images are presented in the order they were taken.
Neurons Cliché Verre Images
These images are not made with a camera. Think of them as Rorschach images on film. They’re combinations of ink and paint, all applied by hand on cleared graphic arts film. More often than not, they’re very tiny, smaller than a postage stamp. I used to print them optically, but now they’re scanned and digitally printed. The Cliché Verre process dates back to the beginning days of photography. I credit my mentor, the late Jaromir (Jerry) Stephany for my awareness of this form; of which he was an acknowledged master.