Print in Place

Artist’s Favorites


24“ x 36”~ $120~PayPal~Free Shipping

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Variety

Limited Edition Prints


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PayPal~Free Shipping~Four Sizes up to 32" x 40"

A POND IN MAINE

A POND IN NH

BLUEBERRY

WALDEN

GRASSES

GRASSES WITH DEW

GROUND COVER

ICE

MEADOWS

MILKWEED

OCEANS EDGE

SALT MARSH

AUTUMN TREES

ROCK WALLS

SPRING TREES

ON THE WATER

WALDEN

WATER=SHIELDS, WALDEN


All the following are digital creations. The are infinite variations possible

on all and all may be printed very large. The ONLY limitationis the 44" wide paper in my new Epson printer.

I honestly dont’t know how many there are since I can leap in and turn everything inside out (after 20 years of practice).

Each image represents a separate gallery.

CONTRADANCE (for saxophone choir)

JW 6047 F 10X30 " WIGGLE WALK

DIAMOND SAXOPHONE

SASSY SAXOPHONES

MM 0054
SAX 6

HORNS INFINITY

Swirlaway

STRINGS ATTACHED

PIANO MASTER
4 v2 bent pianos jçrs F3  T2 ff

MELLANGES


FRENCH HORNS

Swirlaway

HORN SWIRLS

MM 0025

An Old Fashioned Slide Show


Hop in. Let’s go for a ride.

CLICK THE DOUBLE ARROWS IN THE LOWER RIGHT HAND CORNER AND GET A FULL SCREEN.

Milkweed I

click on any image to go to its gallery


Hidden Worlds


A Lonely Photographer

It is a source of pride for me that I have always been alone when photographing, for it is likely I have fond something no one else has seen.

There have been many images from 20,000 sheets of 4" x 5" film. I have chosen my favorates and put them in 18 galleries that unite images where I have seen an image of a subject I especially lie to photograh. Clicking on any of the 18 images below will take you to a gallery. Fourteen states are represented, but the real glory comes from hear home, when I can visit the exact same spot morning after morning, until one day instead of my greeting the morning, the morning greets me.

For a quick overview, click on my favorites.


WATERS EDGE

WATERS EDGE

OCEANS EDGE

STONE FACES

October 1991 cat. JW 1192

Flowers


Melanges

I have been blessed by my wife’s, Susan, passion for flowers, and by a roomy and fertile yard.

A melangé is a mixed assortment and just as I have often worked to remove a center of attention in my landscapes, I do it here. It invites the eye to wander sometimes with subtle clues where to roam next and sometimes with none at all. I have been blessed not only with Susan’s hard work but with some photographic luck. I had built a trundle under my camera so I could make a series of exposures by moving the trundle a few inches at a time. One July afternoon Susan brought into my studio a large basket of blossoms while I brought a lack of forethought (not unusual). I thought for a second or two “what do I do with these” and then started plucking the petals one by one and placing them in the trundle. Susan was not happy, especially when I asked for a second basket. Soon a kind of tapestry emerged and she calmed a bit. My only guideline was that there should be no concentration fo draw the eye.

There are four melangés of which this is the first. Click on the image to go to its gallery. Further down are smaller assemblies and a few eplorations in other directions.

The lighting under which the photogaphs were made is non-directional sunlight, something that could never appear in nature. I made about 120 exposures in six sections with focus stacking so every part of the flower gets equal treatment. When illuminated with 5000K LEDs, the flowers appear to be there in front of you. Prints are available in any size up to 44" x 120" (ten feet) and also cropped into dypticks and triptychs. Examples are shown in the galleries.

LightSongs


Two crafts join, inspired by a name.

I was given a commission to make photographis of musical instruments. Since the symphony has been a life-long passion I had often admired the beauty of the instruments, I think of as a reflection of how the wood and metal must shape the sound. I in turn commissioned photographer Doug Saglio to create the raw material for what has now become digital artistry. As my 80th birthday approaches, the view cameera on my back is no longer a possibility, but some digital science is practical.

It is amazingly difficult to coax something completely new out of something completely familiar. Several years and a few terabytes later some shapes that intrigue me have emerged. Below is an exhibit at the St. Botolph Club in Boston. Click HERE to go to the gallery.

galleries


RECENT WORK

click on the image to go to its gallery

JW 6305 M03 INCLUDING SOLID-1

PIANOS

SAXOPHONES

FRENCH HORNS

MMU-1 V01 CONTRADANCE WITH RED CONTRA
MM 0054

DIAMONDS ARE A SAXOHONES BEST FRIEND

CONTRADANCE

SASSY SAXOPHONES

printing


STATE-OF-THE-ART 10-COLOR ARCHIVAL

I have always limited my edition sizes to 150 prints total for an image including all processes, sizes and crops.

However, to increase the affordability of my prints I am offering a substantial group of images in special formats printed on the same printer and on the same papers as my limited edition prints. I have priced them as low as I can afford and identify them by the trade-mark Luminiqué.

JW with 4x5 12-02 F3 f

the prints


Prints are available in two formats: 1. Signed by hand and numbered with editions limited to 150 prints or less, including all sizes, crops and materials.

2. Poster Prints on the same paper and printer as limited edition prints, but in a poster format. Prints are not number and a signature is digitally embossed in the print.

While I am still able to print I have priced the poster prints at a 70% less than limited edition prints. Late in my career and in these difficult times, I would like my work to be as accessible as possible. Most are printed in sizes to fit ready made frames.


Part I

Landscapes 1974 ~ 2005


When I began photographing with a view camera in 1974 my goal was to find unique images and to print them as well as possible. I explored national parks in the west and northeast but both were already well documented or had subjects or vistas impossible to render in a reasonably sized print.

It wasn’t until 1980 that I first noticed spring on the Massachusetts Turnpike (I-90) 20 to 30 miles west of Boston. When the Pike was built valleys were often filled yielding elevated roadways. This gave me something very unusual, a vantage point at the height of the tree canopy and yet close enough to photograph. The experience changed the way I thought about making images. Now it was texture first and composition second. Although it is not possible in every image, it has affected my work ever since.

The three images below are from the early 1980s in Weston. They illustrate the progression of color from mid to late April to mid May as various species of tree, especially maples, come into leaf. Click HERE for further comments and to go to the gallery where there are full screen versions of the images.

A wonderful irony.

The Bose building where I worked for many years was near the opposite side of the Turnpike. It was built on a large hill called (officially) “The Mountain.” To build the Turnpike, I am told, that the top of The Mountain was removed to provide fill for the Pike’s valleys. So I have always thought that, as you can see in the images below, that to make the photographs below I was standing on fill that had whose removal had made way for Bose Corporation’s headquarters. I had worked in the building from the time of its construction in 1970 until I left Bose in 1990 to pursue photography full time.

With my view camera

My studio on my back crossing the Pike in Millbury

The location of the overlook on the Pike in Weston

Looking up from ground level on the Pike

JW Crossing Pike with Camera on Back_DSC1267

Below, from the Weston overlook, the kind of image that first drew my attention. At their best these images are reministant of fall colors, but with a pointillist rendition. The image below is of the same trees, but later in the spring.

For more examples, click on either of the images below.

Early Buds on Maple Trees I

Interstate Highway 90, Weston, Massachusetts. May 1982 cat. 4841

Peak Color

Interstate Highway 90, Weston, Massachusetts. May 1982
cat. JW 4839

Emergent Spring I

Interstate Highway 90, Millbury, Massachusetts
May 1985, cat. JW 0378

Part II

Printing 1978 ~ 1993


Achieving high color saturation but with full control is easy with Photoshop and a really good printer. It was impossible up to the mid-1990s except with a process called dye transfer printing.

It is complex because of the many steps and is further complicated by the need to keep the three colors of each of eleven film images elements in register.

The image first has to be “seperated” into its three color layers, the subtractive primaries: cyan, magenta and yellow. This is accomplisthed by contact printing the original transparency onto a special black and white separation film with red, green and blue light respectively. The process is then repeated with a very high contrast film to correctly capture the highlights in the tranparency. Additionally two color correction masks are made to use during the separation process.

The three matrices that will carry the dyes.


Part III

The Hidden World of the Nearby


In 1987 I was given an assignment to photograph a small stream in Littleton, Massachuseets called Beaver Brook for an article by John Hanson Mitchell. John lived in a carpenter gothic house he built himself in an area though which Beaver Brook flowed known as “Scratch Flats.” He had written a history called Ceremonial Time of Scratch Flats covering the period since the last ice age 15,000 year ago..

While photographing the brook one July afternoon in 1987, my associate and assistant, Michael Conrad, spotted a small stream passing under I-495. It was late in the day and I came back several mornings to photograph the brook from the highway. One morning a fog blocked out some interferring power lines (now they can be removed easily in Photoshop without the need of fog). The image is reproduced below. It has sold out its edition. A version without the fog is in the gallery RIVERS & STREAMS.

Dreamed Brook

Interstate 495, Littleton, Massachusetts, July 1987, JW 0181

Saxophones

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