My work begins as a photographic image, created with a 1972 vintage Polaroid SX-70 camera.
This was the first camera in the Polaroid line that used the ‘encapsulated’ image system, as opposed to the ‘peel-off’ film. This type of Polaroid film allows one to see the development as it takes place, under the protective layer of clear mylar.

The dye layers, which make up the straight photographic image, are in a fluid state for a short time after the image is ejected from the camera. The next step in the creative process is to manipulate these layers in the straight photograph, thereby creating an impressionistic interpretation. Within 5 to 15 minutes of making the photograph I begin to apply pressure on the mylar surface. The dyes, while in this fluid state, are pushed, finessed and manipulated with a variety of tools such as Japanese chopsticks, toothpicks and artist’s paper stumps. The blending of contemporary photographic technology with this detailed ‘hand work’ allows a sort of ‘meeting of the processes’ of two different centuries. Often referred to as ‘etching,’ ‘sculpting’ or simply ‘manipulation,’ the movement of the image to meet the artist’s interpretation is a fast, exhilarating and decision filled creative experience.

It may take up to three hours to complete the physical interpretation of each piece, depending on the fluidity of the dyes and the amount of detail in the image. The dye emulsion begins to harden after approximately 2 to 3 hours. On a cold day it can harden faster, although I often uses a variety of techniques to keep the film warm, thus extending the time for manipulation. Dyes become permanently set in 8 to 12 hours.

The final step is interpretation of color, intensity, contrast, and tonal values. Here, digital technology does indeed play an important part of the technique. The now manipulated, impressionistic image is scanned (up to 150 megs) and the colors are painstakingly digitally enhanced and remastered. This part of the process can require over 100 hours of digital enhancement to achieve the vision. The work is then printed in the Giclée method on archival quality artist canvas, up to 60x60 inches, and may be completed with delicate hand coloring, tinting and impasto glazing.