The silver section has become something of a misnomer. I finally bit the bullet, sucked it in, grinned and bore it, and bought a DSLR. So, film may not disappear, but…
What’s contained in this site is a portfolio of my work spanning some ten years. Although that seems like a long time, I think it’s good to be able to look at older work and get a sense of where things came from.
The images are divided by media: digital, analog, and silver. I don’t try to restrict myself to any one medium, but generally use what I need or feel is proper at the time. I’ve been working digitally, or at least using digital tools, for some years now. This has not excluded analog (traditional) artist’s tools, nor has digital photography entirely replaced traditional wet process. So there is some crossover, but it’s just as likely for me to throw an object on a flatbed scanner (as the feather in ’Sloth’) as I am to photograph it, and then scan the negative (the pliers in ‘Lust’), or use a digital photograph (the pine cone in ‘Copernicum’).
The alternative photographic processes presented are of three variations. The first is the Van Dyke print, which produces an image that is normally a deep brown, but can vary to a golden brown. The second is the cyanotype, or blueprint, which uses the same chemistry as a commercial blueprint, usually producing a rich cyan blue. Both of theses are contact printed, which means that a negative is produced the same size as the final print. Both are also hand coated onto artist's papers (I generally use 140lb hot-pressed watercolor paper). The final process is the solvent transfer, which I do using laquer thinner to dissolve toner from either a photocopy or a laser print, burnishing the image onto the recieving paper using a variety of implements.