About

Artist Statement

I have always loved black and white photographs for their naturally emotive effects, punchy juxtaposition of deep blacks and bright highlights, and often dramatic rendering of landscapes. Unlike human eyes, which detect visible wavelengths of light as colors, black and white images are the purest form of the interplay of light and shadow. Arrangements of geometric elements, such as shapes, textures, and patterns become essential in composing a picture. Thus, black and white photography creates a virtual reality, a world without color which would distract the eye, and the focus is entirely on the subject. Making a black and white photograph is a unique and selective process, where only a small part of a much larger scene is captured. Essentially, it is composition by subtraction. I experience anticipation when taking a picture and suspense in the darkroom when a new image appears for the first time, not always knowing how it turns out. My goal is to reveal the intrinsic beauty of things we encounter on our journeys. Whenever my photographs draw the observer in, allow for their own interpretation, perhaps evoke a sense of familiarity, or are simply pleasing to the eye, I have done a good job.

Equipment

I use old-fashioned film cameras. Why would I not use the latest and greatest in digital imaging technology? Well, for one, I acquired most of my cameras and lenses second-hand over the course of many years and I really like them! All of them are still in excellent condition and should continue to serve me well for the next decade or so. So, I don’t see any need to replace them as long as film is still available. Secondly, I’m glued to my computer during my day job, and so I have little desire to spend my spare time doing the same (and perhaps a bit strange, I find it relaxing to listen to the flow of water in my darkroom).

Different tasks require different tools and it’s helpful to have various kits available. I like 35 mm cameras for their versatility on the streets and during travel when larger gear is impractical. Medium format cameras provide larger negatives and noticeable better resolution than 35 mm negatives. It is also much easier to inspect medium format contact sheets than those from 35 mm film. And, because some medium format cameras produce square format negatives, they inspire a little bit of a different vision, which can be refreshing compared to the much more common rectangular format. Whenever possible, however, I use large format, or view cameras, which produce much larger negatives that are suitable for contact printing and eliminate any loss of resolution through enlarging. However, they are bulky, heavy, and require a lot of additional gear to be carried around, such as heavy tripods, dark cloths, film holders, and a variety of lenses.

Technique

I prefer the hands-on traditional, wet-darkroom techniques. My photographs are handcrafted; none of my prints are digitally manipulated. Where desired, adjustments are made through careful selective burning and dodging; only rarely will I alter an image profoundly in the darkroom. I strive for a balanced tonal spectrum with stark blacks and detail in the highlights. Each print is unique and subtle variations between prints are normal. The prints are archivally processed, using two fixing baths and toning in a weak selenium solution before a thorough wash cycle. The prints are then dry-mounted on pH-neutral and buffered museum boards. The portfolios on this website showcase scans from the actual prints. Dimensions are in inches unless noted otherwise.

Materials

I enjoy working with fiber-based silver gelatin paper. Several brands are still available and it is fun to explore different cool- and warm-tone papers. Likewise, film is still readily available from a variety of manufacturers, and I primarily use 100 and 400 speed films. 4-ply archival quality mounting board is my choice, and I use the same material for mats. I believe my photographs look best when they are displayed in unobtrusive frosted silver frames.