I photograph flowers and fruit incorporating found objects as content and backgrounds. It is my goal as artist and photographer to encourage a closer examination of ordinary things by presenting them in unusual context. The unexpected compositions, the soft natural lighting, the rich colors and textures combine to give a gently surreal, painterly quality to the work.

I shoot with 4"x5" color negative film, Fuji Pro S 160 which I expose at 100ASA. My light source is naturally diffused sunlight. I do all my own darkroom work both traditional and digital. Traditional techniques: Burning & dodging, color correction and density control are used to maximize the potential of each image and each individual print. For my most current work, beginning ’06, I have scanned the negative. I then use Photoshop to enable a digital version of the results achieved in the traditional darkroom. Photoshop has not been used to significantly alter the compositions. I have printed these Archival Inkjet Prints using Epson Ultrachrome K3 inks on fine art papers. Fuji Crystal Archive photographic paper is used for traditional prints. All prints are archival and expected to be color fast for 60-120 years under normal viewing conditions. All matting and mounting materials are archival.

Process and Technical

• LIGHT:The light is all natural light. I have a studio on my property which I have fitted with a 12 foot square window of corrugated polycarbonate, green house material. Many mornings the sun struggles to burn the marine layer and the warm gentle light fills my studio. This cloud light is perfect, colors are at there most saturated. Shadows are just forming giving the composition depth without being harsh or contrasty.
  
  
• COMPOSITION: I work from a pallet of found objects and flowers and fruit of the season. I have fruit trees my property and each year expand my flower beds. The local co-op is a source of inspirational organic fruit, organic and home grown has so much more character. My neighbors are flower farmers. I am always on the hunt for interesting artifacts.
  
  
• TECHNICAL: I currently use a Horseman LE 4X5 view camera. My film of choice is Fuji ProS 160 which I expose at 100 ASA to every so slightly increase the color saturation.
  
  
• THE PRINTS: Each image requires many darkroom hours. The final print is the result of a series of work prints. These work prints are used to determine how best to print the image and achieve the proper color balance. Most of my images are manipulated to some degree in the printing process. I "dodge" some areas to make them lighter. Others are "burned" to darken them. The overall goal is a print that, I hope, maximizes the negatives potential. Only these traditional darkroom techniques are used. Fuji Crystal Archive is my paper of choice. Transitioning in 2006 I now scan my negatives and work in a digital darkroom. Photoshop is used to perform the same printing techniques used in the traditional darkroom. Photoshop is not used to significantly alter the content of the image. The resulting inkjet prints utilize archival inks and papers.
  
  
• LIMITED EDITION: All photographs are limited in there edition size. The largest sizes are editions of 50.
  
  
• THE PRESENTATION: The prints are matted using White 100% cotton, acid-free, non-buffered, rag mat for over-mat and backing board. All mats are signed, dated and numbered with the edition number. Prints are dry-mounted to prevent the image from wrinkling. The frames are wood stained dark mahogany.
  
  
• PRESERVATION: Fuji Crystal Archive paper is the finest color print paper available. Tests indicate that the color will remain fast for up to 60 years. Epson Ultra Smooth Fine Art Paper is acid free and in combination with Ultrachrome K3 inks these prints are expected to last 80-120 years. Avoiding exposure to direct sunlight or other overly bright light sources can minimize fading. Archival matting and framing techniques and materials have been used to insure longevity.

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