I use a variety of alternative and experimental methods to capture and present a subject in a different way, allowing/provoking the viewer to go beyond that which is obvious at first glance. These methods steer the away from the perceived perfection of modern photographic techniques, which in their own way prevent the viewer from seeing below the idealized surface of the subject. Going beyond, the result is a more deeply satisfying and illuminating experience through the viewers’ own perceptions, allowing them to find the meaning, emotion, and unexpected revelations within the image.
Each alternative and experimental method is a tool to produce a range of alternative representations for the image.
Modern photographic techniques, often considered as reaching “perfection”, provide a literal and intellectual understanding of the presented subject. By using alternative and experimental methods, the viewer AND the artist can find an intangible, indirect, artful story beyond the literal and perfect. I strive to present that which cannot be rendered merely through intellectually and technically perfect narrative stories.
Methods used for capture and presentation are part of the continuum of tools for making my images. They are one process, allowing a range of re-presentations for viewer interpretation. While each method individually may seem simple within itself, the totality of the process becomes inexplicably and mysteriously complex compared to computerized, algorithmic photography.
Often when working with these methods, and at different stages along the way, there are many “aha!” moments. These moments can be as the subject takes form on a ground glass, as the negatives are pulled from the developer, as a print comes to life through the stages of development, just to describe a few examples. Rarely when using editing tools on the computer do these “aha!” moments appear.
Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed
Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed
Hannah, Body Suite No. 6, part of a series of seven images. Platinum toned Kallitype print on Hahnemühle Platinum Rag Paper. Full-Frame Sony A7r digital camera. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium or platinum) and fixed.
Monhegan Island, Maine. Toned Kallitype was developed with a black developer and toned with platinum. Printed on Hahnemuhle Platinum Rag paper. Photographed with a 4x5" view camera, and antique portrait lens. Efke PL25M film (no longer made) developed by a pyrocat-mc developer. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed.
Monhegan Island, Maine. Toned Kallitype developed with the black developer and toned with gold. Printed on Hahnemuhle Platinum Rag paper. Photographed with a 4x5" view camera, and antique portrait lens. Efke PL25M film (no longer made) developed by a pyrocat-mc developer. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed.
Kyotocat, backlit through the curtain. Na2 Platinum/Palladium print on Hahnemühle Platinum Rag Paper Full Frame Sony A7ii camera. Na2 platinum/palladium print, on paper coated with ferric oxalate, palladium and platinum (for contrast control).
A small portion of Snook Kill Falls in the ravine, about 1/4 second exposure. Intrepid 8x10mkii camera with Goerz-Robertson Atar Lens 305mm, Arista EDU 400 film developed in Pyrocat-MC. Darkroom print on silver gelatin Paper, made from the original large format film negative as a contact print. Print exposed, developed, and fixed; sometimes toned.
Kyotocat, antique portrait lens. Na2 Platinum/Palladium print on Hahnemühle Platinum Rag Paper 1898 King Poco 5x7" film camera, antique Heliar 210mm portrait lens, natural light. Kyotocat, antique portrait lens. Na2 Platinum/Palladium print on Hahnemühle Platinum Rag Paper 1898 King Poco 5x7" film camera, antique Heliar 210mm portrait lens, natural light.
Snook Kill Falls, Wilton NY. Toned Kallitype developed with the black developer and toned with gold chloride. Printed on Hahnemuhle Platinum Rag paper. Photographed with a 4x5" view camera, and antique portrait lens. Efke PL25M film (no longer made) developed in the pyrocat-mc developer. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium, or platinum) and fixed.
Sarah, natural light studio. 4x5" color film, digital negative. Chamonix 045n-2 4x5" view camera, Fuji Provia 100 film converted to monochrome. Darkroom print on silver gelatin paper may use an enlarger or print-sized digital negative. Print exposed, developed and fixed; sometimes toned.
Snook Kill Falls, Wilton NY. Sunny Day after Tropical Storm. Major pull process of film to deal with super high contrast. Intrepid 8x10 large format view camera, Fujinon-W 210mm f/5.6, Ilford Ortho Plus Film. Fomaspeed paper. Darkroom print on silver gelatin Paper, made from the original large format film negative as a contact print. Print exposed, developed and fixed; sometimes toned.
Jasmine, sunlight from behind backlit Snook Kill Falls. Full Frame Sony A7r camera, printed on Fomatone 132 Warmtone Paper. Darkroom print on silver gelatin paper may use an enlarger or print-sized digital negative. Print exposed, developed, and fixed; sometimes toned.
Lago d'Orta, Northern Italy Full Frame Sony A7r camera, printed on Fomatone 132 Warmtone Paper. Darkroom print on silver gelatin paper may use an enlarger or print-sized digital negative. Print exposed, developed, and fixed; sometimes toned.
Anya Kay, natural light. Silver gelatin contact print from 5x7" film; Intrepid 810mkii camera with 5x7 back, Voightländer Heliar 210mm portrait lens, Bergger Pancro 400 film in Rodinal developer. Darkroom print on silver gelatin Paper, made from the original large format film negative as a contact print. Print exposed, developed and fixed; sometimes toned.
Oropa, a Catholic Sanctuary in northern Italy, on a cool drizzly day. Full Frame Sony A7r camera. Silver gelatin print on special paper, bleached of silver, then gradually inked with brushes and rollers over time to build up layers
Studio light. 5x7" film negative manipulated in the development process using R3 Monobath developer. Burke & James 5x7" camera with Voightlander Heliar 210mm f/4.5 lens. Handcoated paper with silver nitrate and ferric oxalate. Exposed print is processed in a variety of developers, and then toned (with gold, palladium or platinum) and fixed.
Hanna in studio light. Gum Bichromate print over Na2 platinum/palladium print. Chamonix 045n-2 4x5" film camera with Voightlander Heliar 210mm f/4.5 lens, Kodak TMax 100 film developed in pyrocat developer. One or more negatives are divided by color channels to create gum arabic matrices for each layer. These gum arabic matrices contain light-sensitive dichromate and watercolor pigment., Na2 platinum/palladium print, on paper coated with ferric oxalate, palladium, and platinum (for contrast control).
Grove of trees on coastal Maine. 5x7" film, Wollensak Velostigmat II with major diffusion dialed in, Arista 400 film developed in Pyrocat developer. Na2 platinum/palladium print, on paper coated with ferric oxalate, palladium, and platinum (for contrast control).
Faith, natural light backlit on 4x5" film. Chamonix 045n-2 4x5" film camera, Voightänder Heliar portrait lens, Kodak Tri-X 320 film in Pyrocat developer. Darkroom print on silver gelatin paper may use an enlarger or print-sized digital negative. Print exposed, developed, and fixed; sometimes toned.
Beaver Pond near Lake Desolation, upstate New York. Intrepid 8x10 large format view camera, Caltar 215mm lens, Ilford FP4+ film in Ilford Ilfotec HC Developer, on Fomaspeed Variant 312 paper. Darkroom print on silver gelatin Paper, made from the original large format film negative as a contact print. Print exposed, developed and fixed; sometimes toned.
Anya Kay, natural light studio, 8x10" contact print from an original film negative. Intrepid 810mkii camera, Voightlander Heliar 210mm f/4.5 lens on Arista EDU 400 film, developed in Ilford Ilfotec HC developer and printed on Fomaspeed Matte Paper. Darkroom print on silver gelatin Paper, made from the original large format film negative as a contact print. Print exposed, developed, and fixed; sometimes toned.
One of a series of seven 4x5" albumen contact prints done in the natural light studio. Chamonix 045n-2 4x5" camera, Voightlander Heliar 210mm f/4.5 lens, Arista EDU 400 film developed in Pyrocat developer. Salted Paper print on paper coated with silver nitrate and albumen.
Light-painted daffodils in a vase: cyanotype, double-coated, overexposed, lightly bleached, and lightly toned with black and green tea. Full frame Sony A7r digital camera. Hand-coated paper with two-part cyanotype solution, exposed as a contact print and developed in water
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