Bright, bold color and line mixed with a sense of quiet tenebrism. Each of my photographs captures a the character of an object, a person, or an atmosphere.
For years, I did my graphic design with only Photoshop, which was fine, because I had a solid understanding of file types, file size, pixel depth, and color profiles. I tried to use Illustrator, but it just didn't make sense to me. It all seemed backwards. Then, in 2013, I worked in a sign shop as a graphic designer, and had a crash course in Illustrator, large-format printing, flat bed printing, and vinyl cutting.
Once I saw someone else flying through keyboard commands and doing their routine in real life, I could mimic it. Learning it in a classroom didn't work for me, but learning in hands-on did. Everything you see as far as vector construction, I've done since 2013. I still use Photoshop for picture restorations, digital painting, and inking, but nothing beats Illustrator for sharp lines and crisp text.... though, I still do some lettering by hand because custom lettering can be better for a brand than a font.
One of the things I enjoy about using film is the ritual involved. For me, that is represented in the whole process: setting up a field camera, the lighting, the equipment, carefully arranging the frame, and adjusting the details for the perfect exposure, and then developing that film by hand, using only my sense of touch in the dark. There's a sensual nature to it.
For the subjects, the process ends up being more than a simple snapshot. Each time I go to take a portrait, the subject is surprised at the level of work that goes into setting up the shot. The time and detail make the experience hold more weight, and I think the photographs I take with a field camera are different than those you might get in the same time and space with a digital camera. I like that the field camera itself is intrinsically part of the photographs, even if it's never in them.
Graphite is my first love. Give me a 6B and I'm all set. I like the deeper, thicker lines, and I'll sit there and go over it until it's dense enough to weigh the paper down. Shiny carbon gets me every time.
Sometimes, I add some silverpoint or pastels to the graphite, to change the reflective quality or mood.
Painting is a bit... sacred. Those pigments are glorious. The deep, rich colors, the bright, break-your-heart colors, if I sat down to make a painting every day, you'd never see me again. And I'd end up begging on street corners for spare change so I could go buy another precious tube of paint. I don't paint often for that reason.
These are all paintings I've done a few years ago. (And kinda blurry, because at the time, I didn't know I was suffering from cataracts-- so the paintings are fuzzy, and the pictures aren't in the best focus.)
I do most of my work digitally now. The problems lie in that painting is *expensive* to do. Good, vivid paints with really bright pigments cost tons. And, even when my eyes were covered in cataracts that made me practically blind, I sought out vivid color. Perhaps that's why.
Also, painting is very time-consuming. Sitting down to do a painting takes, at the least, days, and more likely, weeks of commitment. It's not that I necessarily mind the commitment, it's just not something to which I find a subject I often want to devote myself so completely. So painting regularly remains one of those things I imagine myself doing when I'm filthy rich and ready to retire.
Just doodles and sketches.