Winter in Yellowstone

Winter landscapes inspire me to simplify my vision, looking for tenor in the stark shapes and strokes that embody this vast and difficult time of year. There is nuance in the hidden and beauty in the understated. Originally assigned to cover back-country trip into Yellowstone by a small group of renowned plein air artists, I was inspired to capture the same light with my camera that they were painting with oils. What resulted was an album of memories from the trip, a short movie and an exclusive series of gelatin silver photographs – a rarity in today’s world of digital printmaking.

About Hand-toned Gelatin Silver Photographs:

The traditional, definitive gelatin-silver print produces beautiful, rich photographs made from bright luminous whites, deep blacks and a full compliment of tones in between. The process made famous by Alfred Stieglitz, Ansel Adams and Edward Weston has remained largely unchanged since it was introduced in the 1880s. Gelatin silver photographs can be classically hand-toned to achieve additional dimension and subtle tonalities from sepia to selenium.

Fiber paper is coated with gelatin that holds light-sensitive halide particles. The image from a negative is projected onto the paper exposing the silver particles to varying degrees of light. The paper is then placed in a chemical developing solution where the exposed silver particles are transformed into tones of grey corresponding to the amount of light received by each particle. The wide spectrum of grey tones produced ranges from full black to full white and creates what is called the “black and white” print. Its archival permanence is unique in today’s world of pigment digital reproductions. Gelatin silver photographs are of the finest collectible quality.

About Gelatin Silver Photographs

The traditional, classic gelatin-silver print produces beautiful, rich photographs made from bright luminous whites, deep blacks and a full compliment of tones in between. The process made famous by Alfred Stieglitz, Ansel Adams and Edward Weston has remained largely unchanged since it was introduced in the 1880s. The print can be hand-toned to achieve subtle tonalities from sepia to selenium.

Fiber paper is coated with gelatin that holds light-sensitive halide particles. The image from a negative is projected onto the paper exposing the silver particles to varying degrees of light. The paper is then placed in a chemical developing solution where the exposed silver particles are transformed into tones of grey corresponding to the amount of light received by each particle. The wide spectrum of grey tones produced ranges from full black to full white and creates what is called the “black and white” print. Its archival permanence is unique in today’s world of pigment digital reproductions and is of heirloom quality.

Low Light, Mammoth Terraces

11 X 17 hand-toned gelatin silver photograph

The terraces at Mammoth Hot Springs in Yellowstone National Park have a timeless quality, one that is accentuated in the predawn light of early winter.