
The Image Making Process The first decade of my photography was produced in a traditional wet darkroom. I learned the technical and aesthetic aspects of photography from others that had pursued the art for most of their lives. I am particularly indebted to John Wilson, who taught me to see in black and white, and to translate the light all around us to a finished print. The technology of photography has changed significantly during my photographic journey, after remaining relatively constant for most of the 20th Century. Many find this transition in technology an opportunity to take a side, embracing the new or honoring the old. I quite comfortably straddle the line, keeping true to what I find important: the quality and vision contained in the finished image. All of what contributed to a great photographic image with traditional technology remains true for an image produced with a complete digital workflow. All of the techniques to add focus, drama, and brilliance remain constant across the traditional to digital transition; it is only the technical details which differ. What I learned from mentors in a darkroom waving my hands under an enlarger is equally applied waving a hand with a computer mouse. No great photographic images are without technical flaws of some magnitude, mine included. This is true of all works of art if one examines them closely enough. Yet the most moving song, poorly played, will sound flat and unemotional. The world is full of perfectly executed images which lack passion and vision, and with the growth in the number of pictures being taken, there are only more pictures, not more great pictures. There is necessarily a balance between technical and aesthetic characteristics of images. Every good image captures not just a scene, but also a moment, a feeling, a fleeting revelation of the world. The greatest photographs are a confluence of technical capabilities, vision, emotion, and serendipity. I offer the photographs exhibited here as my best efforts to grasp all of these threads and weave them into satisfying, moving images. When I view what I regard a great photographic image, I find myself less interested in the brand and type of camera, lens, and other materials used to produce the image. Similarly, when I eat a great meal or view a great painting, I am uninterested in the brand of pots and pans, or the type of fiber attached to the paintbrushes. To me, this is the stuff of shop talk between fellow artists. However, in acknowledgement that others are more interested in these aspects of images I will offer the following. Almost all of the images exhibited here were originally captured on film. Most of them were captured with a medium format camera. All of the images have been processed and printed digitally. If more specific technical details are desired, please contact me and I will provide them. One technical detail of these images is vitally important, especially to those considering the purchase of images: longevity. It is essential to most people that a printed image stand the test of time, and become something which not only retains the value first recognized, but be a piece of art which can be offered to future generations. The ink and paper I use in the image making process has been tested to be archival. This means that the longevity of the materials used for these images has been tested to be at least equal to, and in most cases, more archival, than traditional silver processes. Matting materials are archival and acid-free. Frames are top quality 7/8 inch wide black aluminum. A picture of a framed print can be found here.	Process

The Image Making Process

The first decade of my photography was produced in a traditional wet darkroom. I learned the technical and aesthetic aspects of photography from others that had pursued the art for most of their lives. I am particularly indebted to John Wilson, who taught me to see in black and white, and to translate the light all around us to a finished print.

The technology of photography has changed significantly during my photographic journey, after remaining relatively constant for most of the 20th Century. Many find this transition in technology an opportunity to take a side, embracing the new or honoring the old. I quite comfortably straddle the line, keeping true to what I find important: the quality and vision contained in the finished image. All of what contributed to a great photographic image with traditional technology remains true for an image produced with a complete digital workflow. All of the techniques to add focus, drama, and brilliance remain constant across the traditional to digital transition; it is only the technical details which differ. What I learned from mentors in a darkroom waving my hands under an enlarger is equally applied waving a hand with a computer mouse.

No great photographic images are without technical flaws of some magnitude, mine included. This is true of all works of art if one examines them closely enough. Yet the most moving song, poorly played, will sound flat and unemotional. The world is full of perfectly executed images which lack passion and vision, and with the growth in the number of pictures being taken, there are only more pictures, not more great pictures. There is necessarily a balance between technical and aesthetic characteristics of images. Every good image captures not just a scene, but also a moment, a feeling, a fleeting revelation of the world. The greatest photographs are a confluence of technical capabilities, vision, emotion, and serendipity. I offer the photographs exhibited here as my best efforts to grasp all of these threads and weave them into satisfying, moving images.

When I view what I regard a great photographic image, I find myself less interested in the brand and type of camera, lens, and other materials used to produce the image. Similarly, when I eat a great meal or view a great painting, I am uninterested in the brand of pots and pans, or the type of fiber attached to the paintbrushes. To me, this is the stuff of shop talk between fellow artists. However, in acknowledgement that others are more interested in these aspects of images I will offer the following. Almost all of the images exhibited here were originally captured on film. Most of them were captured with a medium format camera. All of the images have been processed and printed digitally. If more specific technical details are desired, please contact me and I will provide them.

One technical detail of these images is vitally important, especially to those considering the purchase of images: longevity. It is essential to most people that a printed image stand the test of time, and become something which not only retains the value first recognized, but be a piece of art which can be offered to future generations. The ink and paper I use in the image making process has been tested to be archival. This means that the longevity of the materials used for these images has been tested to be at least equal to, and in most cases, more archival, than traditional silver processes.

Matting materials are archival and acid-free. Frames are top quality 7/8 inch wide black aluminum. A picture of a framed print can be found here.