When I was a
teenager, my Mom inherited a small amount of money and told me to "go
out and buy something fun". So I bought a camera and a few rolls of
film. I went out to the rural countryside and immediately started
arranging all the shapes, forms, lines, and colors, within the
rectangular shaped viewfinder.
When I got those
negatives back from the processor and held them up to the light, there
was an immediate connection - I knew that this was something that I had
to do. So I kept at it. The more I images I shot, the more mistakes I
made, the more I wanted to do it. The insistent drive never stopped.
So here it is 30
years later and the insistence continues. I am still journeying through
the chaos of the natural world, in hopes of restoring order within the
confines of that rectangle. To create that elusive perfect image, while
spending some quality time with the greater powers that be.
The Aluminum Series
Nature amazes the patient and contemplative viewer with astounding beauty at every turn.
If you calm your mind and open your feelings, it will illuminate your soul. Imagine brilliance of color,
radiance of light, softness of texture, the causal flourish - all can be had from this energizing perspective.
Practice, patience and a child's curiosity are the keys to exploring this world.
It can be found in your backyard and the far corners of the Earth.
It is not rare - it thrives everywhere. It need not degree, certificate or license - it is available to all.
The cost is nothing, the reward, immense. Spend the time, gain the gift.
Artist Process Statement
Nature based photography from digital and film based cameras.
Original images are scanned or imported into the computer. The computer is my darkroom.
Software is used to create the final product before output. Call it "manipulation", if you want,
but I prefer "enhancement". The amount of which, depends on the mood of the piece.
All output is created with archival quality materials. This starts at the ink and continues
through to the paper and mounting board. All my pieces are limited edition. They are signed, numbered,
and dated on the back, and include Certificate of Authenticity.
Output is on paper using Epson Pro printers. I use luster paper for my
color work. I use matte paper for my black and whites. All my printing work is performed in my studio by me
personally using a color managed workflow. I do not use an outside lab, unless the size of the required print is beyond the capability
of my printers.
Nature inspired abstract imagery. Images produced in labelled sets/series (ex:
The Leaves Series, or The Agave Series). Each of these series contains a main subject with a specific look and feel.
Images can be displayed singularly, or in groups.
Images are printed by infusing archival inks directly onto specially prepared aluminum sheets. They are then
given a glossy finish to protect from UV, dust and fingerprints. The corners are slightly clipped, to remove the sharp edge.
This printing and finishing process is performed by a professional lab using my instruction set.
These aluminum prints are then mounted to a recessed frame, which floats the image out from the hanging surface.
This results in a highly luminous and contemporary presentation. The final product is lightweight, water/scratch resistant and comes ready to hang.
These limited edition pieces are etched on reverse with edition number, title, date and signature of The Artist.
These are printed in a similar manner to traditional prints. However this process
uses a special pearlescent paper that is "metallic" in appearance. Colors are vivid and bright, blacks are deep and rich.
As the light hits the paper from different angles, it produces an almost 3-D effect.
These are presented in a similar manner to aluminum prints. The paper is mounted to a stiff
backing board. A recessed frame is then mounted to the back of the board. This floats the image out from the hanging surface,
further enhancing the dimensionality of the piece. An archival UV sealant is applied to each final piece for preservation and longevity.
How it Started
I was born and raised in Upstate NY. I garnered my first camera in my
late teens. I thought of it as an interesting hobby and no more. I took
the manual SLR camera out with me whenever I could. I made lots of
mistakes. I always tried to learn from them and strived to do better
the next time I went out.
It started really
clicking when I started to travel. Seeing new places always make people
take photos, and I certainly took my share. But I coupled this with my
urge to do better. I studied the works of others and the principles of
design. I slowly learned the difference between a good picture and an
I concentrated on
nature subjects by no special plan. I took many pictures of many
different subjects, but the ones that brought me the most satisfaction,
were the nature based ones. So really, it was happiness that determined
which way to go. Mother Nature is the most profound artist there will
ever be. It's the main reason why I do, what I do. Mother Nature does
all the hard work, I just show up for the performance.
And then it really started coming together when people
would say that my images were just as good as what was appearing in
magazines. So I starting submitting to publishers around the country. I
got a ton of rejections, but I also got a few publication credits.
But my ultimate goal was to sell prints of my work. The
most satisfying feeling any creative person can have, is seeing their
work admired by others. If you can, for just a few moments, take people
away from their busy lives and see things in a different way, well,
that is just about the greatest feeling in the world. This is the
second reason why I do, what I do. I get to connect with some truly
People: First and foremost, Edward Weston. His unique vision, ability
to make an ordinary object look extraordinary and breadth/depth of
work, are his greatest traits. Also: David Muench, Galen Rowell, Art
Wolf, William Neill and William Garnett. Beyond Photographers, I admire
the work of Miro, Picasso, Kandinsky, Albers and Mondrian.
Books: The Life Library of Photography series, Photography
by Upton and London
Places: Southern Utah, Southern California Deserts, The Pacific Coast,
The Adirondack Mountains.
Tools of the Trade
Throughout most of my career, I have used film to record
my images. I have employed many different sizes: 35mm, to medium
format, to 4x5 large format. Like many, I have since graduated from
film and moved on to a purely digital workflow. I use exclusively Canon
gear. I lug it around in a LowePro Trekker AW backpack. I also sling
around an Induro Tripod and ball head.
Photoshop and Lightroom are my darkroom. Most images receive only
modest amounts of adjustments in the computer. Some images demand more
enhancement. It all depends on the image at hand and what I see in my
mind's eye. I am a big fan of the NIK Software series plug-ins for
Photoshop. My output is varied. As long as it is flat, and can fit through a printer, I'll give it a try.
(1) Do not try to beat Mother Nature, it will make her angry.
(2) Regardless of the weather, there are always images to be had, you
just have to look for them.
(3) When you are concentrating on one image, don't forget to look
behind you, there might be something even better over there.
(4) Trust your instincts and always strive for more. Be your own worst
(5) Carpe Diem. Work until you are exhausted. It is interesting how
creative you can be in altered states of consciousness.
(6) Study the works of others - what makes their work so special? But
then don't go out and imitate them, work on creating your own personal