I’ve added five new pieces recently to the collection. Each one borrows from an older way of making pictures: the warm browns of sepia, the hard contrast of black and white, and the deep blue of cyanotype. I wanted to see what those processes do to trees, shadows and light when the color is taken away.
Quayside Treetops II
Pale trunks and palm fronds stand out against a near-black background, toned in sepia. Thin sprigs of leaves catch the light between the trunks, and you can see the knots and hollows in the bark up close. The wide frame lets the trunks read almost like columns.
Quayside Treetops
This is a view up into the canopy, with branches and leaves lit pale against a dark sky. The sepia toning keeps it warm, while the dense tangle of branches turns into something close to lace. I like how the trunks rise from the bottom of the frame and get lost in the leaves.
The King’s Ocean
A single bright, wavering line of light in motion, like a bolt of lightning from the moon, drops from the top of the frame into a field of deep blue, ending in a small glowing burst. Below it, soft streaks of light fade down into darker water-blue. The color comes straight from my interest in cyanotype.
Quayside Shadows II
Blurred white shapes of leaves and fronds break through a field of deep black. It’s black and white pushed to its limit, with almost no middle tones. Set on a white border, it reads like a print pulled straight from the darkroom.
Quayside Shadows
This is the reverse of the piece above: dark blue shadows of leaves and stems on a pale ground. The shapes are soft and moving, the way a plant leaves its outline on a cyanotype sheet in the sun. It pairs naturally with Quayside Shadows II.
You can see these and the rest of my work in the 2026 Art Catalog.
#FineArtPhotography #Cyanotype #Sepia #BlackAndWhitePhotography #ConceptualPhotography #NaturePhotography #MiamiArtist #NatureNoir #ArtPrints #StudioShangriLa