Fine Art Photography
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The single characteristic defining my photography is my willingness to experiment. My goal in making photographs is to produce quality decorative images where viewers can find comfort in simple beauty.
My photographic interests include black and white photography, digital infrared chroma-color photography, and environmental photography. The majority of my print work is rendered in black and white. Visualizations presented in black and white do not necessarily represent literal truth and allow viewer interpretation. I believe black and white photography allows viewers to resolve their own definition and emotional relationship with the form and content of the print.
I do not believe fine art photography, nor any other artistic process, can be defined or regulated within the confines of rulebooks and the opinions of others. The myth of ‘straight’ photography and the corollary rubrics associated with its declaration were not followed even by those writing the original manifesto. Everything is touched up in post-production development and printing; in the earlier days of photography, mechanically and chemically in the darkroom; and today, in digital software.
Photographs are physical, existing of themselves without the aid of any device. It is my thinking a photograph cannot exist without being reduced to a negative or print.
The ‘real’ picture argument is settled in my mind—digital images captured by me become my expressions in the form of prints. Every print I produce from a digital image is manipulated in some manner through camera settings and out-of-camera adjustments. The camera and lens are data gathering tools. I believe myself to be their master. The print is my reality bound only within the parameter the resulting expressive device remains a photograph.
As an artist, I hold license to use every available means to communicate my expression. I use HDR for its intended purpose of extending dynamic range and make no apologies for doing so. I don’t produce composite photographs or add components to photographs for dramatic effect or idealism. Nipping out things which don’t belong is commonplace. However, the fundamental realities of physical form and spatial relationships remain intact. If multiple images are used to create a photograph, all the images are made contemporaneously at the same location, contain the same subject matter, and are not derivative of each other. Virtually all of my panoramic images are multiple images aligned, stitched together, and color compensated by computer software. I use the computer to bring forth light and form without producing photographs metamorphosed into graphic representations.
I share what I see with the hope others will enjoy the work product of my photographic endeavor. However, I recognize there are those who will not share the feeling or vision of a photograph either by failing to recognize the content or being insensitive to the concept as presented; and, it is perfectly acceptable when this occurs. Either the image speaks to the viewer or it does not. It is outside the scope of my work to control another’s sight, emotional response, or perception of reality.