About the images

Quality photography generally requires only three things: Good subject matter, an eye for composition and an understanding of light. Once you grasp photographic technique and the limitations imposed on the medium, you can create images that accurately reflect your vision.

For me, the desire to depict the landscape as naturally as possible is my goal. I want to show people the simple beauty that surrounds us on a daily basis. From grand vistas to the intricate details at our feet, nature's complex design constantly challenges my cameras.

A number of people that have viewed my images assume they were digitally modified or composited. "How can it look so good", is a typical response. It is surprising to see how readily we have accepted digital technology as a simple answer to everything. So, for curious minds, and my own integrity, I have written this page to help show you my methods.

During my art shows I have taken notes of the most commonly asked questions by my customers and compiled it into a Q & A interview. Enjoy!

Are you shooting on digital?

No. The look and feel of film is different from digital and one that I personally prefer. Properly processed and printed, film - especially in larger formats like the ones I use - still delivers a level of image quality and permanence that is tough to beat. Plus, my workflow in the field and at home is different. It is a slow, disciplined approach. I feel it helps me to create stronger images.

Why are the photographs so sharp and detailed?

I use a wooden 4x5 inch monorail view camera (see image at right). The design dates back to the early days of photography. It creates film negatives or transparencies that measure approximately 4x5 inches (see comparison at right). This huge film area absorbs much more detail and colour than any digital or 35mm camera. I can print the images very large with little loss of image quality. In fact, prints from this format look better the bigger they are.

How do you get the rich colours?

Again, the 4x5 film area produces better colour fidelity, smoother tonal range and better saturation than smaller cameras. But film is only a small part of the equation. I seek out colourful compositions with the desired lighting to get the colours that I do. Generally I return to a place again and again to get the light that I'm looking for. Nature isn't always cooperative.

Do you digitally enhance or alter your images in any way?

No. Wonderful moments of light exist all the time in nature. The secret is to get yourself in place with a camera to capture it. I shoot in a very traditional style akin to old masters like Ansel Adams and Philip Hyde and like-minded contemporaries like Carr Cliffton, Jack Dykinga, David Muench and Joe Cornish. Understanding your subject and your tools help you to be one step ahead of plain luck. It also keeps me away from the computer, tediously manipulating images that could have been better captured with a little patience out in the field.

Do you use filters?

Yes and no. Camera filters come in a wide variety. Many are used to add cheap effects like starbursts, fog and tobacco coloured skies. I use what is called corrective filtration. As a visual medium, film and digital have some severe limitations when it comes to capturing images the way that our eyes see them. It is not perfect. Sometimes a little assistance from filters overcome these limitations and help to produce images that more closely resemble what I saw with my eyes. Click here for an example.

How do you get those milky waterfalls? (see image at right)

I use slow, fine-grained films and shoot usually when lighting conditions are low. This results in the use of longer exposure times that require a solid tripod to assure sharpness throught the picture space. For waterfalls my typical shutter speed is about 2 to 4 seconds. The water is rendered as a blur while static subjects like rocks and trees remain sharp.

Do you print your own images?

Yes. I control the image from camera exposure to the final print. All prints are original and are not reproductions. When printing I try to match the colour and density of the original film as closely as possible. A photo lab could never meet my demading expectations so I decided to invest in my own printing equipment.