Chasing Light Photography
I am fascinated by light. It is what first captures my attention when beginning to take a photograph. I am especially intrigued as to how it affects our natural world, the landscape and how the light transforms these shapes. My main body of work consists of reflection, water, shadows, trees, clouds and rock formations, often up close. I try to capture the unusual subject or the unusual perspective.
I started taking photographs in 1973 when I took every photography course offered at the University of Kansas in the schools of fine art, journalism and architecture. Influences include Edward Westin, Minor White and Imogen Cunningham. Other influences include abstract and impressionistic artists, Chinese art and photographers. In 1977 I moved to Seattle and worked in photography labs and studios for twelve years. I was inspired by many Northwest photographers whose work I saw on daily basis. After twelve years in Seattle, I moved to the Methow Vallery in North Central Washington. I reside outside Twisp and gain much inspiration from living in a country setting near the mountains.
I shoot both black and white and color film. I also shoot Polaroid prints that I manipulate and hand color later. Recently I have been using various mediums on photographs such as gouch, charcoal, color pencils and watercolors. I also have been using a liquid photo emulsion that can be applied to almost any surface. Used in the darkroom, it is exposed and printed as for a photograph. This produces unique, one of a kind images.
I use no computer enhancement in my work. The natural world provides a spectacular realm to me and I hope, to the viewer as well.
My work can be viewed at the Winthrop Gallery in Winthrop, Wa., Cathedral Peak Gallery in Mazama Wa. and at selected exhibits at the Confluence Gallery in Twisp, Wa.
I use SX 70 film in a Polaroid One Step camera that uses this type of film. I take a photograph of a subject such as buildings, plants, trees. These subjects work best for this application. I wait for the image to appear, then take a stylus and start tracing over the image. I “smoosh” the lines around or burnish to soften the hard edges. I enhance the image by spraying the surface with a matte spray to give the surface “tooth”. I then use colored pencils to fill in areas and add color.
The image size is 3″x3″ and are usually matted and put into a small square or 5×7 frame. Houses and barns lend themselves to this technique and make a great gift.
Liquid Light Photographic Emulsion can be painted or spread on with fingers onto any surface-artist’s paper, wood, cloth, rocks, glass, etc. It must be done in a darkroom where a red light can be used in order to see. A negative is placed in the enlarger, the image exposed onto the surface, and is then developed using developing trays and chemicals as for traditional black and white printing. The object is then washed and air dried. Hand coloring can then be done using colored pencils, watercolors, acrylics, etc.