Sandpipers In Silver
In my artistic process I will often explore images in their natural color form as well as through a classical Black & White lens. Typically one or the other wins the visual contest and becomes a new presentation. Very rarely a piece will find me in a quandary, unable to choose between color and monochrome. "Sandpipers in Silver" is one of those. When I saw the original "Sandpipers" viewed through my "Ansel Adams" eyes, I was awestruck. This piece was as visually stunning in B&W as it was in color, but each in very different ways. I had no choice but to make both. Thus, "Sandpipers in Silver" was born.
In my artistic process I will often explore images in their natural color form as well as through a classical Black & White lens. Typically one or the other wins the visual contest and becomes a new presentation. Very rarely a piece will find me in a quandary, unable to choose between color and monochrome. "Sandpipers in Silver" is one of those. When I saw the original "Sandpipers" viewed through my "Ansel Adams" eyes, I was awestruck. This piece was as visually stunning in B&W as it was in color, but each in very different ways. I had no choice but to make both. Thus, "Sandpipers in Silver" was born.
In my artistic process I will often explore images in their natural color form as well as through a classical Black & White lens. Typically one or the other wins the visual contest and becomes a new presentation. Very rarely a piece will find me in a quandary, unable to choose between color and monochrome. "Sandpipers in Silver" is one of those. When I saw the original "Sandpipers" viewed through my "Ansel Adams" eyes, I was awestruck. This piece was as visually stunning in B&W as it was in color, but each in very different ways. I had no choice but to make both. Thus, "Sandpipers in Silver" was born.
*ICM - “Intentional Camera Movement” - is a photographic technique exceeding difficult to master. The camera is moved with intention during a long shutter exposure creating deliberate blur. Various types of movement, with varying degrees of intensity, executed on a scene with appropriate contrast of color or luminance. For all of my work, I only print on Hahnemühle Photo Rag Metallic paper, one of the most exquisite and expensive in the world. The metallic particles embedded in the coating of the paper, along with it’s remarkable yet subtle texture, gives the print a shimmering dimensionality that is almost magical.
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