FUJIFILM 400 Color Negative
Shot on Fujifilm 400, these landscapes are shaped by available light and the grain that comes with it. The film renders color with a quiet softness, holding onto greens, blues, and earth tones in a way that feels slightly removed from the present moment.
Most of these images are made in transitional spaces, where nature is neither untouched nor fully contained. Edges of forests, open water, fields after use, and the spaces where weather leaves its mark without asking permission.
Kodak Gold 200 Color Negative
Shot on Kodak Gold, these landscapes sit closer to the surface of memory. Color comes forward first, warm yellows, rich greens, and a kind of everyday brightness that feels familiar rather than distant.
These images are made in ordinary light. Midday sun, open shade, the kind of conditions that do not ask for attention but give it anyway. Roadside stops, back fields, neighborhood edges, and places that exist without needing to announce themselves.
Psych Blues #4 200 – Experimental pre-exposed Film
Built from a 35mm roll pre-exposed to holographic paper, producing shifting layers of color that move across and between frames. The effect is unpredictable by design. Spectrums of light enter from different directions and fade in and out as the film advances.
In contrast, my work with florals and greenhouse plants moves in the opposite direction. It is slower and more grounded, focused on form and growth rather than distortion. Both approaches begin in the same place though, with light passing through something fragile, something alive, something in motion.
