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S L I D E
S H O W S
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What happens when artificial order imposes itself on the natural world? What contrasts, tensions and parallels exist between human habitation and wild environments? What does change look like? What does change express about the human condition? Is beauty or ugliness a fiction of our imagination? Is there something magical simmering beneath the surface of things that hints at life's purpose and meaning? These are the questions that drive my creative efforts.
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Background My mom gave me a Brownie to play with when I was about four years old. I don't think there was any film in the camera, but I was instantly hooked. When I was eleven, my dad bought me my first SLR (a Pentax K1000) and I began developing B&W film in the darkest place I could find – our basement well pump-room. But it wasn't until junior high and high school that I really studied composition, dark room techniques, depth-of-field and so on. I was fairly certain at that time that I would be a photo journalist, and equally certain that my fingers would forever smell like fixer. Then I witnessed a helicopter accident that killed nearly fifty people. My shots of the crash ended up in the local paper, and I earned more money in a day than I had all that summer. That day it became clear to me that my conscience wasn't built for journalistic work, so I turned my camera on more ordinary scenes: candid shots of friends, still life compositions, abstract patterns, architecture; searching for gentle moments and the stories behind them. For four years I studied photography and art history in Frankfurt, Germany, and traveled extensively in Europe to explore people, culture and architecture through my camera. When I returned to the States I landed in Seattle, Washington, where I tried my hand at studio work and on-location shoots, and was drawn strongly to wilderness photography. I also took several trips around the country and abroad, capturing mystery, beauty and wonder wherever it sprang forth. For many years, I carried a compact camera (an Olympus Stylus) with color slide film everywhere I went, adding my trusty old Pentax with B&W film for special occasions. During the last eight years I have shifted my focus to photography as fine art, and after moving to San Diego in 2002, I finally converted to digital format and the the glorious creative control of image-editing software. In the beginning I used mainly Olympus digital equipment. A year has now past since this site was launched, and I recently purchased a Nikon D80, a digital camera which has already greatly expanded my world of photographic possibility. This 10 Megapixel SLR has allowed a return to subjects I am passionate about (such as candid people shots), and relieved me of much fidgeting, fussing and waiting for the right moment. Now I can shoot nearly everything that catches my eye, and it's very freeing. In terms of post camera processing, I have experimented with digital effects, but I find myself returning to the essence of the moment and attempting to convey it as pristinely as possible. Since my arrival in San Diego, I have shown my work at local galleries and produced limited edition prints. Whether through travel abroad or a neighborhood walk, I'm always discovering rich new material. I also have a number of new projects underway that involve on-location and studio shoots. But wherever I point my camera, my subjects compel me with fascination, passion, awe and love.
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All Content © T.Collins Logan
