出品人： 中天文化

藝術(shù)家自述

我的藝術(shù)攝影在1968年有了一個(gè)重大的飛躍。 我不經(jīng)意地走進(jìn)安塞爾?亞當(dāng)斯畫廊，展現(xiàn)在我眼前的是安塞爾?亞當(dāng)斯的6幅驚人的巨型影像照片。1969年春天，我再一次來到約賽邁特，作 在以后的8年里，我一直參加約賽邁特的安塞爾?亞當(dāng)斯培訓(xùn)班,還有他在加州卡梅爾的培訓(xùn)班。

在過去的30年里，我和妻子每年有兩個(gè)月到處游蕩，因此我們作品的內(nèi)容多樣豐富。

40多年以前，我做出了一個(gè)承諾，就是繼續(xù)安塞爾?亞當(dāng)斯的傳統(tǒng)“純粹”攝影。這里沒有電腦或多種圖像技術(shù)的使用，也沒有打印或是底片加工，比如漂白或激化。我在《偉大的美國(guó)西部》中所有的照片都是使用2.25英寸 和 8×10英寸照相機(jī)拍攝的。所有照片的制作，包括40×50英寸的大照片，我都是用最傳統(tǒng)的方法完成 – 以纖維為基礎(chǔ)的相紙，傳統(tǒng)的暗房技術(shù)。我的目標(biāo)是制作出那些激動(dòng)人心的精彩照片。

Artist Statement

My pursuit of fine art photography took a major leap forward when in 1968, I innocently wandered into Best Studio, now the Ansel Adams Gallery in Yosemite National Park. Before me in all their glory were six Ansel Adams photographs of epic size and imagery. The next spring, 1969, I was again in Yosemite. During the next eight years I attended another Ansel Adams workshop in Yosemite, as well as his workshop in Carmel, California.

My wife and I were lving as nomads for two months of the year for over thirty years has resulted in an on-going body of work rich in substance and diversity.

More than forty years ago I made a commitment to continue in the Ansel Adams tradition of “straight” photography. There is no use of computers or multiple imagery. There is no print or negative enhancement such as bleaching or intensification. All of my photographs are made in the Great American West using 2 ?” and 8 x 10” cameras. I print up to 40 x 50” inches the “old fashioned way” using fiber based paper, tray processing and selenium toner. My goal is to produce prints which truly celebrate those most exciting photographic moments!