I started painting digitally a few years ago using the Adobe Photoshop software and a Wacom Tablet / Artists Pen. Most of the inspiration for my painting comes from photographs I take myself.
My paintings are not the product of some sort of processing filter applied to my photographs, but still, my photography is the integral source of subject matter.
Using various features within Photoshop, I can paint on top of a photograph, much like painting on a glass surface with the photograph underneath. The paint is laid down digitally, by each stroke of a digital brush, (by using the Wacom Artist Pen on the Wacom Tablet controlling the Photoshop brush tools).
My first recollection of photography dates from the late 1950�s, when my father had some sort of peculiar room in the house. The odd smell of the chemicals, brown bottles and a vague remembrance of a cluttered backroom are the only memories now.
The next recollections of photography come from a few surviving photos I took in the early 1960s. Those photographs are of friends, family, and things important to me at the moment.
In the early 1970s my stepfather loaned me an Argus C3 for an extended period of time. From that time on, photography has been a habitual and essential part of my life.
My intention in those years was not so much to make predetermined photographs. I photographed the happenstance of what was going on around me in the normal course of events. My normal activities did not revolve around making photographs, but I would generally include photography as part of what I was doing, carrying a camera with me most of the time. As a result, most of my photography during those first years was landscape and street work. A large part of my current portfolios is too.
In the 1980s photography became an even a more acute part of my life. I started taking classes, studying on my own, selling a few photos and generally paying more attention to both the art and craft of photography. Lunch hours became one-hour street photography sessions, weekends and vacations became photographic expeditions, and the more I learned the more I did not know.
In the late 1980s my photography interest consumed my prior career. My artistic approach to photography, while more refined than in my earlier years, is still generally quit simple and similar. I think most of my photography is still a visual journal of my explorations and interests. The majority of my photography is �found� images, a response to what was happening and what I saw. This type of work is probably the most common form of photography. There are some of my portfolios where a lot of forethought was involved and resulting images very much preconceived. This idea of a preconceived work is a pretty classical approach to producing artwork and probably the most common in most forms of two-dimensional art other than photography.
The techniques I use depend upon my response to a subject and the photography technique I think will interpret that response. This leads to a varied usage of photographic techniques. Until the last decade, the majority of my photography was traditional silver gelatin based black and white photographs, but hand coloring, altered Polaroid SX70s, color photography and some digital photography were all part of my technical approach to the craft side of photography.
In 2009, due to various circumstances I reluctantly shut down my darkroom and discontinued making silver gelatin prints. For the most part I have not produced digital prints from my old film materials, (negatives and/or transparencies), but there are a few that I have converted and produce acceptable digital prints. Polaroid discontinued the SX70 Time Zero films I used in for my Altered Polaroids, so that art form has been discontinued also.
Today, most of the photographic prints I sell are made using digital cameras.