Artist Statement

Creative process:
I photograph flowers and fruit incorporating a variety of 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.
My capture tool is the large format view camera. This is the big one with the bellows (like an accordion). This bellows allows adjustments which give the photographer the ability to manipulate perspective and shift the field of focus. The large 4”x5” negative captures remarkable detail.
Many images are multi-leveled compositions arranged on and under a horizontal glass sheet that I have set up like a table. It is supported by glass jars so light will pass freely below.  I use picture framing glass because it is relatively thin and will be both reflective and transparent. My background material is upright so the glass extends away from it towards the viewer. I arrange my subjects then on the glass and below the glass. With the view camera I shift perspective; the reflective glass surface appears to fall away before us. We look through the reflections at a reality below the surface. Color, form and texture blend in the camera. The image takes on a subtle, slightly surreal complexity.
In the successful image the viewer is treated to a unique visual experience, a new look at things, unaware of any technical monkey business.
Copper has become a favorite background material. Early on I found a copper ash bin with wonderful patina, scratched, rusted and welded. I have since taken natural process into my own hands. I now work with several large pieces of copper sheet. I burn it with a small torch. I scratch with various tools and materials. Stains appear. The goal is to create a background with color, texture, depth and energy. 

Technical process:
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 have always done 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 most recent work I have abandoned the traditional darkroom and now scan my negative. I then use Photoshop to enable a digital version of the results achieved in the traditional darkroom. Photoshop allows for a highly targeted approach to the traditional techniques described above. I think of the process as a digital massage, carefully working the image towards its optimum expression. Photoshop has not been used to significantly alter the content of 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 60-120years under normal viewing conditions. All matting and mounting materials are archival.

The Prints:
All photographs are limited in their edition size. The largest sizes are editions of 50. The prints are matted and mounted using archival materials and techniques. All over mats are white and are signed, dated and numbered with the edition number. 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.
Questions and Comments:
Please feel free to contact if you have questions about specific images or techniques. I always enjoy hearing thoughts about my work.