The way and manner of making my manipulated sepia prints is -for the moment- left behind in the realm of light sensitive silver based materials, laboratories, chemistry and film photography. My contribution at that time was successful in a one-hit-wonder kind of way.

I was inspired to create this body of work thanks largely to the results of signing a contributors contract with Tony Stone Images in the 90’s. The popularity of a globe image of mine was a vehicle and path to inspiration and income for the better part of 2 decades as I contributed more and more imagery to the various worldwide stock agencies.

I remain motivated to this day by the images that I have made and that were illustrative and yet somehow photographic at the same time. I continue to seek out ways to innovate and combine the ethereal, textural with the realism of the photographic image. I like to combine the effects of illustration with photography.



But I would like to state categorically that I stand on the shoulders of those great photographers that came before me – Louis Daguerre – William Mortensen, Thomas Brady – Edward S Curtis – and so many others that experimented with emulsions, gelatins, glass plates, gold and sepia toning retouching and so much more – too many names to even list. This way of image making was more closely related to painting and illustration than it is to crystal clear and in focus image making.

To this day I am fascinated with patinas and the way the light can play off the reflected art materials and this is where I am producing and underway with a set of images. The new tools are digital cameras and printers and inks and papers – but – light is still the vehicle which transports them from real into the ethereal. I am eternally grateful to be a photographer.

fine art photography panoramas abstracts derivatives manipulated prints

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