About the Photographer

Ginger

A month before going to the Galapagos in 1999, I bought a 35-mm Canon EOS, 2 lenses, and 25 rolls of film. Prior to that, I had used nothing other than point-and-shoot snapshot cameras, and in fact hadnít even owned any kind of camera for about 15 years. Using one roll of film before the trip, I practiced using my new camera, went to the Galapagos, and hoped for the best.

The results completely surprised me and absolutely thrilled me. Without knowing much about cameras and their technical intricacies, I managed to bring back a pile of delightful photos. It didnít hurt that the wildlife practically walked up to my lenses, but I realized from those results that what I did know instinctually was how to frame an interesting image.

Since that time, Iíve taken my camera everywhere I goófrom the Pacific Northwest to many parts of the U.S. as well as Mexico, Canada, and Europe. The images that intrigue me the most are the unusual juxtaposition of elements, shadows, and patterns both in nature and urban settings. All of my work, until the spring of 2005, has concentrated on capturing on film the beauty in the obvious: a rock on the beach, the shape of a leaf, mist on the hills.

In the spring of 2005, I headed to an area in Bellingham, Washington (my home), where train cars are parked. The closer I got to the sides of trains, the more I found and the results look more like abstract painted art than photography. While I still thrill to shadows and patterns and capturing beauty in nature, this new direction added a unique dimension to my work, particularly since Iíve chosen to print them on canvas for local photo shows.

In the winter of 2005 I switched from film to all digital, using several cameras. Getting instant feedback on the images, and being able to review them while traveling, is helpful and delightful. Although Iíve always loved film, Iím now a digital convert.