My Fine Art Gallery is organized into albums that represent themed projects. All of the images are here because they represent the idea behind the theme. Although my work involves five to seven ongoing themes I pursue each themed project individually and at any opportunity. One out of ten images I produce make it into these albums. As you browse these collections feel free to write me with your feedback. Thank you for exploring.
As a new resident of Arizona the power and appreciation of the landscape is ever growing and inspiring. To see it and be in it at different times of the year is always rewarding. Capturing it on large format film is one of the most satisfying activities I can be involved in. Thinking about the finished print of these scenes motivates me to do the hard work because making a gelatin silver print takes about 10 times longer than capturing a digital image and printing it using a computer. Exposing an image on film that is close to what I see and feel is hard to do but when done correctly "you can’t touch that !"
This series of family photos are made without a lot of family members in the images. These are family scenes that currently take place in my wife ‘s and my living space, an apartment in downtown Phoenix. Different from our typical family photos where our children would be present involved in family activities, but they are missing. Now adults, with lives that take place somewhere else, we have a new type of family documentation that require memories and stories to complete the whole picture.
To many photographic experts a collection of images like these into a single body of work is referred to as a series "of stand alone photos". Coming from a fine art instructor or curator this comment is not a compliment. To many experts themed work is a requirement to express a clear photographic idea and necessary in creating a proper body of work. For me I make images when they present themselves and in my life things do not occur in theme. Things just happen at random. The important criteria for me is interesting objects in unusual light. I use my photography to record what I see in my mind. By selecting common objects from a different angle and with the addition of expressive light I attempt to capture the mystery and integrity of that object.
On November 13, 2015 Paris, France suffered the worst deadly attack directed at the general public since World War II. In visiting ten days later I choose to bring a view camera and film in order to capture images of the streets and city life after this horrible event. Upon walking the 4th District I was staying in it was clear things were not what they were. There were very few people out and the streets and the people who did venture out were not interested in talking or visiting. These photos express the mood of what I experienced. Mostly empty of people it was cold, damp and gloomy with an atmosphere of hope and always of interesting light.
As a Midwesterner and recent resident of downtown Phoenix I have a restless interest in making photographs of my new landscape in particular my new neighborhood. I find myself involved in photographing my surroundings similar (at least in my mind) to the main character in Hitchcock’s Masterpiece film "Rear Window". As in the movie I routinely look out my windows to survey the lives of this new community and capture a sense of the city’s atmosphere through its unique architecture including the original remnants scattered in with the "New Downtown Phoenix".
I have been making large format film images regularly since 1995. In fact of of my early images are done using a large format film cameras. The images in this album were made while living in the Midwest. The light and subject matter east of the Mississippi are very different than the southwest, the part of the country I now reside. I have a lot of emotional attachment to this part of the country and the images here represent a part of this attachment.
My love for architecture has always been strong and compelling. A body of work of a design of a building will include its space organization, highlighting functional objects and using daylight in interiors to tell more of the story. When I see a body of work in a building I let my camera tell the story of the design. It is always there in view and the story is usually just asking to be told.
This series of images is a whimsical collection of various aged organic forms that take on the resemblance of human figures and in particular the female figure. For example, the two-legged carrots with crossed legs and another wearing hip hugger jeans seem to proclaim I am single, independent and happy. I am working to grow this online album in hopes of including new members to my unique community.
