As a child I was fascinated by my father’s old cameras and darkroom equipment gathering dust in a basement closet. They were mechanical puzzles I was driven to secretly take apart to see how they worked.
I still easily recall the fear provoked as the interwoven aperture blades of a lens came apart in my small untrained hands, and the intense relief when I finally managed to reassemble them.
I was intrigued by the pictures my father had developed and printed. His abandoned hobby seemed like magic. Perhaps my interest in photography has a genetic underpinning.
It’s become cliché to say photographs freeze moments in time. It’s a little less common and perhaps geekier to talk about how they freeze subjects in space. A photograph flattens our four-dimensional world of space-time into a flat, two-dimensional shortcut. Navigating this compression is where I find my art.
I try to find interesting light in ordinary places where it escapes attention. My interests are eclectic and changing – from landscapes to urban, to people and portraiture. I like buildings.
Lightroom /post processing
In the age of film, technical-oriented photographers fine-tuned the dynamic range of an image by adjusting the negative’s exposure and development. Later, in the darkroom, they used dodging and burning to make local adjustments.
(Of course) there were detractors who believed these techniques sullied the purity of an image that ought to be perfect straight out of camera. (“SOOC” – the holy-grail abbreviation in the photography world.)
I’ll weigh-in by repeating what photographer / darkroom pioneer extraordinaire Ansel Adams. said to dismiss these critics. Post-processing adjustments, he said, serve to “take care of mistakes God made in establishing tonal relationships.”
Today’s digital post-processing techniques parallel those of film, and require similar skill and patience – but much of the arduous calculation and preplanning has been eliminated, and mistakes tend to be more easily reversible.
Much of my work begins after I’ve clicked the shutter. But there are limits to post-processing magic; the image must be fundamentally sound to begin with.
I try to achieve good tonality and color with global adjustments. I try to avoid the overuse of local adjustments that can too easily spoil the dynamics of an image.
I’m proud to have been an Adobe Community Professional, part of a support team Adobe calls “creative experts around the world… extremely knowledgeable about one or more of our applications” and hope to continue that role in the future. I train people in Lightroom and Photoshop and have technical expertise in several web design applications.
Photographer for hire.
I am available to take creative, artistic photographs of you, your family, friends, pets, home, business, possessions, or anything else in the world. Senior portraits a specialty.
Additionally, you may purchase any image you see on my site. I print images using acid-free materials; under reasonable conditions they will retain color and tone for a lifetime.
Contact me: firstname.lastname@example.org