04-MAY-2006
Oak Creek shadows, Sedona, Arizona, 2006
This is another naturescape of Oak Creek. As in the previous image, the presence of the creek is implied, not described. In the previous image, the creek was barely seen through some branches. In this image, the creek invisibly flows in the dark shadows behind the boulders and plants that line its shores. The spot meter is one of the few technical devices I use as an essential part of my photographic style. It allows me to paint with light by exposing for the highlights only, and abstract other detail in the process. I expose on the highlights reflecting off the boulders. Instead of vanishing into the background, the delicately illuminated bush rising at the center of the image stands out in relief against the abstracted darkness of the creek behind it. The highlighted boulders to the left of that bush, and grasses to its right, create a diagonal flow echoing the invisible course of the creek just beyond. My interpretation here expresses tranquility – a far cry from my previous interpretation of the same creek.
20-MAY-2006
Low water, Oak Creek Canyon, Sedona, Arizona, 2006
My style also thrives on diagonal flows and thrusts. In this case, Oak Creek flows diagonally across the image,leading us to a series of repeating diagonals created by the trees and their reflections. The creek is so low that it reveals a trail of stones rarely seen. Another aspect of style evident in this image is my incongruous, unconventional cropping. I remove the foliage from many of the trees to force the viewers eyes down into the reflections in the water. The reflections are cropped once more by the left hand bank. Viewfinder cropping is a hallmark of my photographic style. I concentrate on what is happening at the edges of my frame as I shoot. It took me a number of years to acquire this skill – there was always a temptation to study what is inside of the frame, instead of paying close attention to what is left out of it. The essence of my photographic style is focused on the art of leaving things out.
05-MAY-2006
Dawn reflections, Oak Creek Canyon, Sedona, Arizona, 2006
The red rock cliffs that line the side of the canyon turn gold as the dawn light bathes its 2,000 foot high walls. I don’t shoot the walls themselves. Instead, I photograph their reflection in the rippling waters of Oak Creek. This, too, is part of my style – I often shoot the effect of light, rather than the source of the light itself. My abstract interpretation is an expression of value: a display of liquid gold -- symbolizing the priceless worth of water to mankind.
21-MAY-2006
Dust storm, Saguaro National Park, Tucson, Arizona, 2006
This is the first of three interpretive images using the giant saguaro cactus as a subject or context. This image tells the story of weather in the Sonoran Desert. A story telling image is an interpretive image, because I am using this picture to tell the story I want to tell. In this image, a massive dust storm rolls towards us across the valley floor. Instead of emphasizing the dust storm itself, I shoot its onrush from behind a stand of saguaro. This vantage point creates a layered approach that makes us feel like participants, not just observers. Layering is another important component of my photographic style. The spindly cacti tremble in the swirling wind – they stand as a fragile barrier between us and the on-coming storm. This is may be the most descriptive of the three saguaro images in this gallery, yet it is also expressive because the incongruous curtain of dust coming at us can trigger thoughts in the imagination of the viewer.
21-MAY-2006
Under a cloud, Saguaro National Park, Tucson, Arizona, 2006
This is a more abstract image than the previous example also featuring a stand of saguaro cactus. I often abstract my subjects through backlighting, a technique that plays a frequent role in my photographic style. Backlighting underexposes the image, creating silhouettes that emphasize shape, instead of form and detail. The shapes are important in this image – the saguaros are blooming at the ends of their arms, and the small, finely detailed blossom clusters are easier to see in silhouette. In this shot, I move my vantage point, placing the sun behind one of the saguaros to underexpose the image and also create a focal point. The larger saguaros are pointing their long fingers towards a mystical translucent cloud floating overhead. My deliberate underexposure turns night into the day, creating a dream like interpretation. This abstracted scene becomes more surreal than real.
21-MAY-2006
Survivor, Saguaro National Park, Tucson, Arizona, 2006
This is the third example using the saguaro as subject matter. These images express different ideas because of how I use my photographic style to interpret them. I build this image around a lonely cactus standing on the crest of a windswept, diagonal hill. Backlighted clouds soar overhead. A thin under-layer of clouds create a sense of explosive energy when contrasted to the under exposed dark blue desert sky. My interpretation metaphorically implies resiliency and survival. The backlighted sentinel is framed by straggly branches that echo the thrust of the saguaro’s arms, as well as the upward movement of clouds through the sky. The saguaro seems threatened, but it will survive. It has been alive for many decades, and is equipped by nature to flourish in this harsh desert environment. By interpreting the subject using the abstracting force of backlighting, I use my photographic style to create a metaphoric idea that will trigger the imagination of the viewer.