Mark Hopkins Hotel.

I fell in love with San Francisco as soon as I arrived, and staid at the Mark Hopkins Hotel. It was the first place that I visited in the States, and I have been back many times since. The whole bay area is very inspiring for artists. The poster started as a photograph, but changed through painting with pixels.

Doorway.

This artwork, along with several others of mine was recently on display at the University of Redlands Faculty Show.

Hanging Gardens

This scene is next to a railway platform, where most people are far too busy getting on and off the train to notice. Nikon D200, with a 18-70mm Nikkor lens.

View of Florence.

I tried to recapture a feeling of the early hand tinted photo travel post cards, which were still around when I was a kid. Canon 35mm FTQL, with 50mm lens. Post production with Photoshop.

Minotaur.

I started this painting in a very abstract way with rhythmic strokes, and it just took on a life of its own. It was not until I scanned it, and started making a few modifications with Photoshop did I see the bull or lion head. Painted with watercolor paint and pencils. 

Camogli.

When I was about 12 years old, I found a photo of a fishing village and made a painted copy of it. I never knew where that fishing village was until many years later when I was hiking along the north western coast of Italy, and suddenly there it was. Camogli is part of the towns and villages that make up the Riviere di Levante. Olympus OM1n with 21mm lens. Ektachrome Professional slide film. Various effects with photoshop

Winter Twilight No.2.

Changing the color and contrast to the first version of Winter Twilight has given it a more wintery look.

Winter Twilight.

Starting with a fairly simple and basic photo of some trees, and then scanning it into photoshop, allowed me to play with the image until I discovered the right effect. Being creatively playful is what its all about. Nikon N90s with 80-200mm lens.

Warehouse.

Not one of the most inspiring places to photograph, but often required by clients. Defining the contours of the subject creates a more graphic look. Nikon D200 with 18-70mm lens.

Venetian Facade No.3

Venice is truly an architectural wonder, and I never tire of strolling the streets and byways on a search for new visual delights! Nikon D200 with 80-200 Nikkor lens

Blue Cabin.

The cabin was built by whalers and is a sad reminder of the slaughter of the migrating grey whales along the California Coast. I changed and intensified the colors, plus gave it a posterized effect. Olympus OM1n with 21mm lens. Ektachrome Professional 50asa/iso slide film.

Juliet's Balcony.

The original image was fairly drab compared to this. I changed and intensified the colors. Nikon D70 with 18 to 70mm lens.

Wash Day.

There is little space to accommodate washers and dryers in the apartments of Venice, so outside of the windows the washing hangs, adding to the festive mood of the place. Olympus OMIn with 50mm lens, Ektachrome Professional 50asa/iso slide film, Photoshop poster edges effect.

Venetian Promenade.

I usually avoid the crowds when searching for a suitable vantage point, but sometimes it can be a very interesting to include a large group of people, illustrating the hustle and bustle of the place, plus giving scale. Olympus OMn1 with 35mm lens, Ektachrome Professional 50 iso/asa slide film, Photoshop paint daub effect.

Orb 7

This was a demonstration of a Mandala design using pastels.

Blue Boat.

This has been my top selling print so far. It was originally taken on a Olympus OM1 35mm camera with a 21mm lens. Many hours were spent working with a very early version of Photoshop to retouch and change details to get the effect I was looking for. I try to let both mediums meet halfway.

Portofino Festa

There is a misconception about painting with pixels. Many people think that its instantaneous. Just one press of a button in Photoshop and your photo is turned into a Turner, made into a Manet or Modigliani. No, no and no! If your a traditional artist, you may be far quicker getting out your oil paints and painting the scene the conventional way. Portofino Festa started out as a 35mm transparency or slide. It was taken on a Olympus OM1 with a standard 50mm lens, and then scanned. It was then digitally processed in a very early version of Photoshop Elements. There were many hours put into getting it to look impressionistic. Unfortunately I lost my notes on what I did to achieve the look in this photo. Anyway,  I try to avoid using formulas, so I tend to use a different approach and technique on every project.