Fine Art Photography

I shoot what the eye can not see. Over time, with extended exposures, film is able to collect the changing light. As light passes across the landscape, the film gathers a composite of light as it travels with time. It is this resulting quality of light that so interests me and which seems to suggest a certain timelessness. I work solely with historical processes – large and medium format cameras, black and white film, handmade toners and oil paints. In the field, I work in extremely low light situations, searching for that ethereal but fleeting unison of light and landscape which appears simultaneously both representational and symbolic. In the darkroom, I hand print each piece, painting with light to enhance and intensify the image collected on the film.
By seeking subjects that are visually quiet, the quality of the light itself becomes a large part of the subject and the essence of the piece.

 

The Times, Trenton Edition,

“Defining ‘Beauty'”, Janet Purcell, January 11, 2013

 

The Washington Post: Classic Black and White Why Lisa Tyson Ennis’ Wet Darkroom Matters

 

Making Magic: Beauty in Word and Image, Brian Peterson, Exhibition Catalog, Michener Art Museum, 2012

 

Maine Home & Design, “Collecting Time”, Britta Konau, August, 2012

 

Reviews:


Philadelphia Inquirer, Edward J. Sozanski, Inquirer Art Critic

 

The American Society of Picture Professionals, Issue #1 2012