Ansel Adams said, "There are always two people in every picture: the photographer and the viewer."
To explore this a bit, every photograph captures a small piece of space and time. But I aspire to do this by "freezing" reality in a way not seen by the casual observer. This might be with perspective, time of day and lighting, exposure, darkroom and printing techniques, or digital combinations of images. I shoot what I shoot trying to give the viewer an otherwise unseen perspective on common subjects.
So, I often work at the boundary of photography and painting. My intent is to produce a photographic print that appears to have been created with paintbrush and color palette or with black, white and shades of gray. For example, each of my projects, Graffiti Mash-Up, 2014, and Seascapes, 2008-2011, depicts subjects that can’t be viewed in exactly the same way in the natural world.
Graffiti is comprised of overlaid composite images where the viewer sees two pieces of artwork at once, one through the other. Here I am indebted to the original artists, many who are street artists in Buenos Aires, Argentina; others are better-known such as Frida Kahlo, Diego Rivera and Federico Botero, among other art dignitaries both past and present. This series would not exist without their seminal contributions.
Seascapes are images taken with the camera shutter open for minutes at a time rather than for mere fractions of a second. The result is to smooth out ocean waves to pacific planarity and to render the sky as if it were a watercolor painting. The San Diego Union Tribune (August 20, 2009) said of one of the Seascapes, “The view is wide, the colors almost ghostly. He uses transparency film and time-lapse photography . . . Clouds and sea appear as soft as cotton.”