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.