Photography as a fine art has been a pursuit of mine since around 1978. Having served as a photographer for commercial newspapers and scholastic publications from the time I was 12, my experience in the darkroom dates back to when Ektachrome slide film processing, currently called E6, was still E2 and required hand exposing the film to a floodlight during the process in order to reverse the film from negative to positive. In those early years, I began experimenting with such techniques as photograms, solarization and using the enlarger as a camera. I eventualy began concentrating on photography as an art form after discovering the work of Ansel Adams in the mid 1970s.
Since that time, I have put a tremendous amount of time, energy and, yes, money into both equipment and research. Behind the camera, my attention to the quality of light in composition comes directly from my study of Ansel Adams. On the other hand, my choices in the posing of my models, particularly nudes, stem from the influences of Edward Weston. The use of grain enhancement in composition is a reflection of my admiration of the work of Robert Farber. Ive explored the use of high grain films such as infrared black and white, 2475 high speed recording film, high speed Ektachrome and other films "push" processed to exaggerate the grain. As to the other side of the coin, my darkroom mastery of such demanding effects as print solarization, a technique referred to as the Sabattier Effect (a French term pronounced "Sabitya" introduced into the lexicon of fine art photography by artist Man Ray in the early part of the twentieth century), and tonal masking and separation have lead to some of my most striking and best selling works.
Once in the darkroom, the process of printing archival quality black and white fine prints is performed in strict adherence to the teachings of Ansel Adams. This involves techniques such as split development for contrast control, the use of high silver papers, particularly Kodak Elite and Oriental Seagull, and the judicious use of selenium to tone and protect the silver image. Meticulous processing is followed by exhaustive washing and museum quality handling, mounting and display. I also do my own color processing and printing, drawing upon years of experience in the field of custom commercial color printing for other professional photographers and advertising agencies.
I have won several awards and notations of merit for photography including best of show at art fairs and an award from the Hoosier State Press Association for outstanding feature photography. My work has been displayed in galleries , exhibition spaces and art shows in Kentucky, Indiana, Illinois, Michigan and Texas. Currently, my work is represented in Texas by the CMR Gallery of Corpus Christi.
By the way, Thanks for your interest in my work. I hope you find it as pleasing to view as I have found it satisfying to create.
Just as a point of reference, let me quickly run down the details of how these photographs were generated. The equipment used included Nikon FTN, FE, FM2, F3, and FG bodies with several Nikkor lenses ranging from 16mm to 200mm, a Yashica model "A" 2 1/4 X 2 1/4 80mm f3.5 twin lens reflex and a Calumet 4X5 view camera with Ilex lenses ranging from 90mm to 210mm. Handheld light metering was done with a Gossen Luna-Pro SBC system. 12 foot roll paper backdrops and various photo floods with umbrellas were employed for studio work. Flash equipment included Sunpack 522 and 622 systems with remote sensors and several Vivitar units used for fill from time to time. In the darkroom, the enlarger used was an Omega Super Chromega D series 4X5 color with Cromegatrol timer/stabilizer using 50mm Nikkor, 80mm Vivitar and 150mm Schneider lenses. No analyzers were employed (although I had one - big waste of money). Black and white films included Kodak Panatomic X, Plus X, Tri X, Technical Pan, TMax, 2475 Recording Film, High Speed Infrared, Kodalith ortho and Ilford Pan F, FP4 and XP1. Black and white printing papers included Kodak Elite and Oriental Seagull. Most black and white film and paper developers were mixed by hand from raw components based on published formulas including those for DK50, D76, POTA, and Dektol. Pre-mixed versions were also used along with Kodak Kodalith and Selectol developers and Ilford liquid developer. Color films included Kodak Kodacolor 100 and 400, Gold 200, Vericolor II and III Professional and internegative films, Kodachrome 25 and 64, Ektachrome 64, 200, 400, Color Infrared E4 and Fujichrome 50 transparency films. Film processing was done by hand using C41 and E6 standard and "push" processing except for the Kodachrome which was processed by Kodak using process K14. Color printing was done on Ektacolor Plus RC paper using normal EP2 processing. Fellow darkroom moles may notice that some of these products are no longer in use and/or have been superceded by new products. I started printing my current set of prints in 1980 and have not had the luxury of a darkroom since 1991, so this list may look a bit dated.
For this web site, I scanned 8X10 versions of the fine prints or 4X5 proofs of prints currently out of stock on a UMAX Astra 610P scanner at 100 dpi in True Color. The images were rebalanced, cropped and cataloged in Thumbs Plus 32. Pixel editing and other minor touching up was performed in Paint Shop Pro version 4. The final images were saved as JPEG files formatted for 800 by 600 screen resolution viewing. These images may take a few seconds to download, but I felt that reducing the dpi rate would compromise the viewing quality. I hope you find them worth the wait.
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