I’ve been making archival, carefully crafted fine art photographs in the Upper Valley of Vermont and New Hampshire for over 30 years. Carrying my sensibilities and style of working from silver emulsions forward into the digital era, I'm finding working with raw sensor data, software, and pigment ink can easily carry my style and technique forward: I start with a vision and I work with the medium to pull something out of the environment and onto a piece of archival paper. The paper is flat -- the world is round, deep and full of light -- and I love it when I can use this world to make something shine out through a print.
Although good technique and equipment may be important in conveying a strong statement, technique is in the service of the message, a means and not an end. The point is: can an image ring us like a bell, create a resonance with the world? The technology is in the service of the emotional experience, the connection with a bigger view of the world.
My work is often of landscapes, sometimes of people, sometimes close up. I don't have any set subject material; it just depends where I happen to be. I often am in Vermont, which I consider to be a very lucky blessing in my life. The photo, a print, is its own thing, apart from the external situation, its own evocation of an emotional realm apart from the so called reality in front of the camera. My goal is to align the original situation and the end result, always connecting to the world and light from which it came but also respecting that something else happens in the made-photograph.
Beyond being inspired by Buddhist art, I am practicing it. I have meditated for years, though not yet enough. The worldview and experience, the fruition of my dharma practice and study can't help influence and transform my vision. Really a lot of my work is about mind, not landscape. Landscape just provides material.