Q: Are these actually photographs and how much digital manipulation do you do?
A: Yes, every final image is a true photograph created over the course of many hours. The total number images used to create each final composition varies between 30 and 120. For each final composition I will take a piece of each individual exposure and weave it with others like a digital tapestry to create the final image. In terms of photomanipulation, all the colors are as shot and I use gels and other in camera tools to create the final colors. I do not clone stamp and limit my manipulations to “digital darkroom manipulations” such as dodging, burning, and other traditional methods.
Q: Can you create any custom sizes?
A: Absolutely! I work with many interior designers and fine art collectors and understand that the work needs to nest well within a space. As such I do print custom sized works on request. If you are interested in a custom size feel free to reach out to me in the Contact section.
Q: Do you have any example images showing the entire Painting with Light in the Dark® process?
A: Please see the Behind the Lens as well as Video sections of my website for a better sneak peak behind the curtain of what I do. Those sections are specifically designed to house all my behind the scenes videos and articles explaining my process in more detail.
Q: What does it mean to have a specific image number in a series, for example, 5 of 100?
A: I believe in creating very limited edition prints at certain sizes to maintain your investment in my work. Different sized works will have different total edition numbers but I guarantee that there will never be more than the total number of prints made on that paper at that size. Each image is signed and numbered by the artist and the larger works come with a certificate of authenticity and matching serialized holographic sticker that is applied to the work itself and to the certificate.
Q: What makes your work different from that of other photographers?
A: The vast majority of nature and landscape photographers rely either entirely on the sun as a light source or use one or two strobes to illuminate their subjects. By photographing at night and utilizing dozens of different light sources, I can create a full photo studio where ever I go and can illuminate subjects from shipwrecks to abandoned stadiums as I see them in my mind’s eye and am not limited to where the sun in at any particular time. This is the key differentiator between my work and that of other landscape photographers like Peter Lik, Galen Rowell, and others.
Q: What type of paper to you print on for exhibition and how do you exhibit your images?
A: All of my exhibition prints are giclee prints created on metallic luster paper. I prefer this paper type because the paper is inherently more luminous than other fine art exhibition papers available and the crystals imbedded in the paper itself lets the work take on a life of its own depending on where the viewer chooses to display the work. As more light hits the work it will glow and appear to leap off the page; as a dimmer light is applied, the hues become more subtle and almost silky. I do all of my own fine art printing and use only the industry’s best archival and UV resistant inks and papers.
Q: Why is your technique called Painting with Light in the Dark®?
A: This unique process was inspired by the Renaissance painting technique sfumatto, the photographic zone system, and other artists who have built careers developing techniques that fuse art and science. On location, I literally paints my subjects with light using multiple photos taken from a variety of angles with different lighting conditions, I combine the otherwise-similar images into a single luminous composition.