About the Photographer
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 hadn’t 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 didn’t 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, I’ve taken my camera everywhere I go—from 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 I’ve 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 I’ve always
loved film, I’m now a digital convert.
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