I have been passionate about photography and printmaking for over 43 years. I learned this craft during a time when photography was a science that demanded an in-depth understanding of the relationship between light, shutter speed, and their resulting harmony on a sheet of exposed film. Darkroom printmaking is a tedious craft, requiring multi-tasking process skills in a micro timed environment. The artistic value of photography will always be a romance between the two components of image capture, and presentation in the print. My mentoring in artistic vision came through the teaching of contemporary watercolor artist Charles H. Sanderson (1976-1978). Every photograph I take today reflects his influence on how I see the world around me. Today, I have embraced the digital world and it's methods. Even though technology has changed the appearance of my dark room the commitment to challenge and inspire people who love this art medium remains paramount.
Black and white photography, combined with a passion for print making is my chosen outlet for creative expression. I love art in it's many different forms but when I was young I decided to focus on my efforts on on one path in order to obtain excellence through a lifetime of practice and discipline.
Simply put, I am a artist that makes my own inks. In the early digital years, those of us who were discerning print makers realized the art of making fine art black and white prints in the digital world was full of problematic compromise. Modern printers use colors to add contrast changes and are easily seen under a magnification loupe. I began experimenting with variable densities of carbon pigment or simply put, different shades of gray. First, a carrier fluid had to be formulated that would both, suspend the carbon and work well in the printer. My thoughts on this matter originated in the Carbon Transfer Process developed in the mid-1800's for the photographic carbon transfer print; considered by many to be the pinnacle dark room photographic print making process. In my opinion, my adaptation of this process concept for the modern world results in fine art black and white prints that will remain vibrant for several hundred years. This printmaking process demonstrates uncompromising quality where modern technology and traditional aesthetics become indistinguishable. That said, just like any art form it takes years of dedication to become proficient in any craft and at this point in my life, I can see in my mind how the final photo will look before I ever set up the camera to take the photograph.
My work has been represented by fine galleries in Dallas, Kansas City, and Santa Fe. For the last five years I've had exclusive representation through AfterImage Gallery in Dallas, Tx. Afterimage is one of the oldest galleries in America devoted to fine art photography.
The camera manufacturer Canon has awarded some of my work shot in the National Park System and has licensed it for their purpose.
Some of my work is included in the "Art of Emprise Collection"; a bank owned accumulation of investment art that is one of finest corporate owned collections in the country.
I have been interviewed by several of the most respected journalists in the craft including the distinguished veteran Lou Jacobs Jr. Articles about my work and techniques have been published in Shutterbug Magazine in 2009, 2012, and 2013. In 2012 I authored an eBook titled: "ELEMENT-The Photography of Gerald Hill". It is distributed by Barns and Noble as well many other outlets.
Every photograph is printed on moulde made, museum grade paper. By doing all aspects of the photograph myself, from image capture to final printing, I feel assured the final product is the artistic expression of how I want to portray the world as I see it.
Thank you for your time and interest,
Copyright © 2020 Photography By Gerald Hill - All Rights Reserved.