As a primarily black and white photographer, since 1968, I have captured images of people and urban scenes, which featured dramatic lighting and stark contrasts. However, from 2009 through 2012, I made specific photographic studies of the Alexander Calder sculpture Two Discs that sits outside the Hirshhorn Museum on the National Mall in Washington, D.C., and produced a new portfolio of connected images from these studies.
For the Calder collection, I spent just over a year working to turn the black and white photographs into color-infused images, which reflect Cubist and Abstract Expressionist traditions. These images were crafted and printed with results that have a traditional painting integrity, but continue to validate the photographic medium as vibrant, significant, and consistent with my 50+ years of fascination with the photographic image and the process of capturing, editing, and producing it.
At the beginning of 2016 my portfolio directs significant attention once again to the influence of available, natural light as it touches surfaces and its impact on my black and white photography. These images create strong elements that send the viewer's eye to key areas of the photograph with my goal being that they pause for a few moments and absorb all that's there.
Having moved to Middle River, Maryland, my work has taken a turn toward the pastoral. Continuing my focus on black and white imagery, I have captured the area in all kinds of weather conditions, as well as moonsets and sunrises in late summer, autumn and winter. I have photographed the forest edge, the forest trails, reservoirs and conservation basins, and a vast area which I call "Middle River Moors". The "Moors" have hills and berms and dune-like areas with grasses against a backdrop of tall saplings. Sunrise through an early morning fog or the weight of a late afternoon sunset, provides striking visuals of the land and forest. I studied the beach at Gunpowder Falls State Park and the expansive minimalism offered by shoreline, sky, sparse flora and wooden jetties.
The creation of the Fog Series is one that reinforces my love of light and dark and the grays in between. Fog presents those gradations within its visual components. When I capture a street light, or the moon or a silhouette of trees, in the fog, it all resonates as a complete photograph of simplicity, yet the poignancy and complexity in its mood.
These images are designed to be provocatively calm. I make specific choices to craft each image, as I look through the viewfinder. This conscious selection at the very beginning is critical to my process, with increasing editing of what I see before I press the shutter button. Within my most recent portfolio are landscape photographs that capture subtle light inferences in backgrounds that are representational but subtle enough to evoke mood with contrast given to sharper, stronger tonal images in the foreground.
My primary visual voice is black and white tonal images of commonplace scenes and objects in available light, made more striking by specific choices of inclusion, exclusion, contrast, and tones.

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