The Last Living Master

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The Last Living Master - A photographer confronts his fate. This is a fictional memoir, inspired by the author's own experience and by his long friendship with other serious photographers and their unrevealed histories. The story involves a cross-country trip with a platinum printer and his digitally-minded son, as they challenge each other's art and authority at every mile post. The love life of the characters gives an extra dimension to the story, in their attempt to redefine family. This is a unique read in the narrative of photography and visual thinking. According to the author, "The book is a word-print. I trust my own experience, and if I believe my photographer friends, that the rest of the information, intimately acquired from historical figures, is in all details accurate. Otherwise this is fiction to a purpose, based on a solid reality, much like a photograph. The narrative follows the conflicts in style, age, and personality that define our current milieu." The Last Living Master also presents the First New Master and brings two series together: The Masters of Vision Series and SciFire-¿. Here, Andre Corel starts with a view camera from the gold rush, that a relative used with miners in the Yukon. After apprenticing to two of the immortals, Andre begins making cameras of his own. In the darkroom He tries to refine the past by improving on the chemistry of gold and platinum printing. Cran, his only son, is a challenging new generation, intent on breaking free entirely and leaping into the future, to seduce his digital muse. "Let's talk Freud, " Cran demands of his father. Mastery, as a test of personality, determines the end. Elihu Blotnick is the author of eleven other novels, most under pseudonyms. Among them are On the Crest of Time ("coy, mysterious, sexy...a collusion of photographs and story" Booklist) and Don't Drink the Eye Drops, Dream Rider ("jolting...a swift quirky tale" Publishers Weekly). His poetry & photography include Russian Hill & Saltwater Flats ("powerful and very personal images of contemporary America" New York Times)