The finished Photographs are always unique. The contacts, scans, and proofs are my sketches, just as a Sculptor has his maquette and an Architect his blue prints.

The Cameras

  Photography: My photographic images are developing and existing since 1983. They primarily came as a result to a filmmaking class I had at the University.
    I wanted to be able to photograph time.
Elapsed time is easily experienced in motion picture but still photography is simply a moment in time. The roll film format allowed my photos to grasp time in a different way, often the first frame and the final frame are separated by hours or even days. By combining single and double exposure I linked time from one end of the negative to the other.
    Capturing movement like Muybridge was not my goal, I was rather interested in the patterns created by repetition. These repetitions caused a specific geometry to develop in the prints. This led to repeating one image in different colors on one piece (the light boxes). My paintings had always been basically geometric. This geometry and the blurring of the recognition between photographic/painted images established itself in 1997. I wanted to try to create works that initially looked like paintings but were actually photographs.

     The technical process is as follows; A Zeiss Ikon Ikonta A, B, and C series cameras take the initial image. I develop and print contacts of each negative. I scan the contacts into my computer to begin the first low-resolution sketches. A selection is made from the sketches and the negative is taken to a high-resolution scanner where I decide on the final sizes (I scan up to 9 meters to give me flexibility later). The colors were initially acquired by printing the black and white negatives on color paper with different filters. However, I am now able to achieve the same results with even greater control with digital imaging.
     The digital information (.tiff format) is opened in Photoshop and given a soft light fill over selected areas. Through this process of manipulting images the selection of imagery has changed. The most recent works departed from the repetition of one element and focused entirely on the coloring of the existing geometry within a single photo (waves). Also working with color film is opening even more exciting possibilities.