One of the things I like about living in north-central Pennsylvania is our four distinct seasons. And while I don’t particularly like the coldest weather we get here, I do like the visuals of leafless trees and the landscape covered in snow. This type of scene elicits a mood within me that tends to be rather sentimental, nostalgic, or cozy. The cold air outdoors can be countered by a fresh cup of Pike Place coffee or hot chocolate (a bit of peppermint Schnapps helps too). Maybe a favorite blanket, a fireplace, a comfortable chair come to mind as well.
So it’s not really the landscape itself which has a mood, it’s our response to a scene which is projected onto the landscape that elicits our feelings. When I am creating images outside in the winter I am working mostly by gut instinct. A combination of conscious and subconscious responses to the visual environment effected by the feeling of cold, the sounds around me, maybe the smell of a distant fire. I cannot, of course, put all of these sensations into my image, but they impact the creative process.
When the images are brought into my studio and viewed on a computer screen away from the conditions in which they were made, I can evaluate them at a different level. Without all of the sensory stimuli which were associated with the making of the images in the field, I can look at them with fresh eyes. Elements like contrast, tonality, texture, composition, visual impact, and even just how much I like the image, can be evaluated more consciously. My goal in this part of the process is to be authentic to my visual experience in the field and my aesthetic response to that image in the studio.
The image below was made a short walk from my studio. I was drawn to the texture of the trees and to the way they surrounded the small red building. The evergreen trees provide a visual color balance to the red and a color harmony with the blues in the shadowy parts of the woods. Strong diagonal lines throughout the image lead from the the upper left to the lower right and so to the red building as well. Most of this analysis takes place in the studio and not in the field, at least not consciously. But I am sure that the studio analysis of the image impacts my subconscious responses going forward when I am working in the moment.
I am a big fan of Japanese woodblock prints, especially those relating to nature. The aesthetics of simplicity, muted color, and brilliant use of space (positive and negative), is very pleasing to me. Over the last several years, I have been conscious of my desire to work in a more minimalist style. One way in which I create in that style is with a long telephoto lens. With the narrow perspective and thin depth of field of a long lens I can isolate objects and compress elements within the composition.
This beautiful Weeping Cherry tree is one of my favorite features of our farm property and one which I go to each spring to experience anew. On this overcast April day, I watched a House Finch explore the tree’s bowing branches. The combination of pink flowers and rosy red of the House Finch create a harmonious combination. I composed for a bit of contrasting tonalities in the background and with sufficient negative space on the left to keep the image airy and light.
I like this new piece very much. It represents the direction my work has been heading now for a few years and which I am continuing to build upon. I made the print on a matte paper which maintains the subtlety of tones and softness of the light. It will be introduced this weekend in Timonium, Maryland as I tour with the Sugarloaf Craft Festival.
The finished piece titled House of the Weeping Cherry, is approximately 10×14, double-matted to 16×20 with all acid-free materials, and framed in white with UV-Protective, Reflection-control glass. The Edition is limited to 100 and is part of “The 100” Series, priced at $239.00 framed and $114.00 matted. Both are available at my gallery on-line HERE.
One of the things I really enjoy about living in this part of the country (north-central PA), is having four distinct seasons. So when I received an inquiry from a customer about doing a four-seasons arrangement with trees being prominent, I was very pleased. My client had already selected three pieces from my gallery on-line and wanted me to work up some options specifically for spring. After sending her several thumbnail images, she made her choice. But still a bit uncertain, she needed something else.
It always helps to be able to visualize an art arrangement on a wall, so I sent her a mock -up image of the pieces she selected. Not only did she have a better sense of how the selection would look together, she loved my specific arrangement. As an artist, it is rewarding to me that I can both create works that speak to people, and assist in how they will live with the art they purchase.
It’s always exciting and fun to have a new project for a client. This current request for a four seasons collection had me considering works depicting spring trees. The image making process for me is always intense, so each trip through my collection of images brings back memories and emotions.
This image was made in Bucks County, PA early in the morning from a position where I could place the sun behind the early spring buds. Their rich colors were emphasized by the the back lighting, a polarizing filter, and contrast development in Lightroom.
It’s kind of nice to be thinking about spring on a cold, windy winter day.
I am excited to introduce a new image and a new series. This new series is really a new category of art prints which will represent the majority of work I offer going forward. In this series which I have named “The 100”, prints will be limited to 100 total across all edition sizes. If I print in 1, 2 or 3 edition sizes, the total across all of them will be 100. For this new image, Black Bird, I am introducing it as a 9.75 x 13.75 print matted to 16×20 in an edition of 50. Therefore, all other edition sizes will number a total of 50 prints to reach 100.
Black Bird is an image I made early morning during a snow storm this month (it’s been that kind of spring!). Waking up to the snow, I immediately grabbed my preferred gear for tough weather and started driving the back roads around where I live in north-central Pennsylvania.
For this image I was drawn to the line of the trees and the way the snow was covering the branches almost as if the trees were “leafed-out” with white foliage. To me this piece has the feeling of an infra-red image, it is almost surreal. I keyed in on the small figure of a black bird on the top of the central tree and decided to make it the “center” of interest. The bird animates the image, providing a point of empathy, a vantage point that we can relate to. All wildlife allows this type of connection with a landscape, regardless of how small in the frame they are. It was also because of the small size of the bird in the image that I placed it centrally. The arrangement of trees is best in this configuration as well however. I work by gut instinct, intuitively, so I can react authentically and emotionally to a scene.
I used an Olympus OM-D E-M5 Mark II with an Olympus 12-100mm lens. This weatherproof gear gives me great confidence to work in extreme conditions. It is small and light weight and feels very comfortable in my hands. The Olympus 12-100mm gives me a great range of compositional options especially when needing to work from a confined range.