September 16, 2021
July 15, 2021
April 21, 2021
February 23, 2021
The top image is the most visually conventional, on the surface, yet even it is a couple of steps away from a traditional photograph: looking closely, the viewer detects ghostly double images within the frame.
The second image was made with a pinhole "lens", rather than an actual glass lens. The long exposure time, thirty seconds (due to the tiny f162 aperture through which light strikes the sensor), resulted in a bit of softening of the floral detail.
The third and final image is also a pinhole photograph; it varies from the second image due to a sense of overall Dionysian energy and fecundity, almost from a bug's-eye perspective.
February 12, 2021
February 9, 2021
January 27, 2021
My thought when I first viewed this in-camera, triple-exposure photograph, as it appeared on the viewing screen on the back of my DSLR, was that extremely weird, uncanny sensation that I was gazing at a figure simultaneously orchid and human.
January 21, 2021
This photograph, a triptych of multiple exposure images, was initially created in-camera: a series of long exposures lit by a hand-held LED flashlight and a 500 watt tungsten spotlight. The three individual images were then combined on a single canvas in Photoshop. I feel as though this is an image made by Francis Bacon, who ditched painting and picked up a camera after reading Wilde's Picture of Dorian Gray or Robert Louis Stevenson's Dr.Jekyll and Mr.Hyde.
January 7, 2021
December 15, 2020
December 1, 2020
I've included two photographs here: The smaller photo is more-or-less a straight out of camera image with minimal processing. The larger photograph is edited using, post-digital-processing and what I can only call "handwork" in Lightroom and Photoshop. The camera I use, a full-frame DSLR, allows for the production of multiple exposures on the same file, producing a RAW original.This image was a double exposure. I've done a bit of work increasing contrast, applying both minus clarity AND plus dehaze, and slight variations to a magenta, blue, and yellow color channels. I also tried split toning with color to add a color cast to the shadows and highlights. I still consider the final, processed image to be the truer expression of my internal, pre-conceived ideal. The expressive power of the image is finalized and made manifest in the 'digital darkroom', just as in days past the true vision of the analog photographer was made "real" in the analog darkroom. My photographs are not ABOUT the process, but they can't exist without it. That is why I occasionally share these details, since I normally prefer to speak only of the 'content', however one defines that slippery term. For me content refers more to intentions than objects.
November 26, 2020
November 19, 2020
This image is an in-camera triple-exposure. The camera was held parallel to the horizon for the first image, then rotated 180 degrees for the second exposure, and so on to the third, final exposure.
October 27, 2020
October 14, 2020
October 4, 2020
The tree which serves as the source image of this photograph stands alone in a carefully manicured suburban housing development. Its powerful, ancient, and mysterious presence does not seem diminished by its mundane surroundings; instead it appears to magnify its weird isolation within a theatrical, scripted space. As I left the golden fields surrounding this titan, I felt a malevolent presence as though this tree, and its family, is not happy with us.