Photo Synthesis Gallery

 
 

About the Photo Synthesis Gallery...

Flowers represent one of the most universally embraced forms of subject matter to be explored by visual artists. Inherently possessing boundless varieties of aesthetic nuance and visual opulence, flowers and other botanical specimens readily lend themselves to some of the most fundamental objectives of artistic expression. Moreover, the diverse range of color, form, line, and texture that these objects manifest causes them to naturally adapt to the photographic process. How then does a photographer approach this particular subject matter in such a way as not to impersonate a currently existing wealth of recorded expression?

As a photographer who was initially trained in what might best be described as a “classical’ approach to the medium – using a view camera, the Zone System, and the western landscape as a primary subject – my approach to the series: Photo Synthesis has lead me down a decidedly different path from that of my classical roots in the West Coast School of Photography.

Employing a process and methodology more indicative of painting and sculpture, or perhaps even jazz improvisation, the series: Photo Synthesis eschews pre-visualized and representational aspects of conventional photography in favor of a more intuitive, symbolic and spontaneous approach to the subject. Using digital tools and materials exclusively, the initial camera-based images in this series have been significantly altered, distorted, re-structured, and re-formatted so as to present a more primordial landscape of abstracted natural forms, fantasy-based illusions, and altered perceptions.

Photo Synthesis Process Description

For the series: Photo Synthesis (originally produced between 2002 and 2010) I employed a Canon EOS 1DS Mark III digital camera and 24-105mm, f4 L IS USM lens. The flowers and other botanical subjects were most often photographed using a relatively plain off-white background. Once the original camera images had been captured and uploaded to a Macintosh computer, they were then altered and restructured using Adobe Photoshop software in much the same way a painter might use a brush and palette of colors to achieve a painting. That is to say, the applied techniques were rarely repeated in the same sequence and/or configuration for any two given images (much as a painter would rarely use the exact same brush stroke, twice). The process itself was accomplished in more of an intuitive and improvisational manner, rather than by following any fixed or repeatable sequence of steps to achieve a desired result. Once the original camera image has been exposed, the overall process might well be described as being more comparable to painting, or sculpture, or perhaps even jazz improvisation, than strictly to photography.

 
Roses #20, 2004
 

Note- A hardcover book containing more than 80 color reproductions of images from the Photo Synthesis series can be found, here.


Limited Edition Prints from This Gallery

For additional information and/or to purchase Limited Edition Archival Pigment Ink Prints of any of the images contained in this gallery, click the desired thumbnail image (above) and that image will be enlarged. Hover your mouse over the enlarged image and a black overlay will appear at the bottom of the enlarged image window. Look for a text link in the lower left titled: "Purchase Prints of this image." Click that link to be taken to the "Add to Cart" page where you will find detailed information about available print sizes, edition numbers, print prices, and more. If you are having trouble accessing the "Add to Cart" pages using a tablet, cell phone, or other mobile device, please click here.