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. This is actually an important part of this statement on my work. Though I sometimes happen to be in an extraordinary place at an amazing time, that is not the basis of my work. My work is being, presence, looking hard with a cultivated awareness, and then working to carefully winnow good exposures and craft impactful prints. It is not "capturing" the extraordinary, nor transforming the ordinary. I'm looking hard at and then working with the way the world can actually appear to all of us, and then revealing that through a photograph.
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. So I'm not messing with it too much, apart from making exposures in infrared. In other words, I'm not adding other images together or anything like that. And because the print or image must exist on its own, composition is important. Form, tone, texture, and color have to all work together within the square or rectangle that comes out of the printer and then is framed.
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. What is awareness, clarity of vision? How does the world manifest in the context of what the Buddhists call "emptiness." How does form dance with space? This is what I'm working with.