Answer Number Four:
How & Why
In 2010, a Chicago gallery required a biography be included with my submission. I followed the advice of knowledgeable folk as to what the art world might be looking for in such an opus.
Having revisited that biography in 2016, it reads like so much porcupine poop.
I believe what follows is more relevant to my work.
In 1978, I started in film. By 1995, I decided to concentrate on the female nude, compose exclusively in black & white, process my own film, and make my own prints.
In 2006, it became apparent to me that I must embrace digital. I use Photoshop Bridge. Bridge allows me to work with RAW files in the same fashion as, and with more range than, my work with film.
My greatest challenge in the digital format was to find a lab that could print superior quality fiber prints.
I found that lab.
What inspired me to specialize in the female nude may be of interest.
In 1995, I saw Edward Weston’s 1923 photo of Tina Modotti for the first time (displayed below). Seventy-two years after the image was made, it elicited feelings akin to love yet devoid of lust.
Weston’s image is timeless. He captured her perfect, serene beauty with equipment that is primitive by today’s standards. Weston’s command of his craft was apparent.
I decided to master The Nude; that is, to be able to create unique, artistic images of women that satisfy the woman, the principles of composition and design, and me.
To consistently achieve these five goals is the ongoing challenge that sustains my infatuation with the creative process.
Edward Weston's Tina Modotti, lying on the Azotea, (1923)