My Digital Prints


My digital prints are hand-printed and signed Epson Ultrachrome inkjet prints. These durable pigment-ink prints fully meet my exacting artistic standards while making my work available to those who cannot afford dye transfer prints. I print the digital prints up to 17" x 22" on the finest quality double-weight semiglossy fiber base paper (similar in look to the surface of the dye transfer prints). The larger digital prints are on heavyweight semiglossy RC paper. Like the dye transfers, prints have at least 1" of white paper around the and are titled and signed the prints in archival ink under the image.



Black and White



click here for a full-screen image

Alcoa Building, Pittsburgh ~ 1972

I photographed the Alcoa building in Pittsburgh in 1972. It made a gorgeous silver gelatin print. I was too new at printing to realize that was an entirely fortuitous combination of film and print paper tonal characteristics. After that paper was discontinued, I could never again make an acceptable-looking print. Last year I realized digital printing would let me recreate the character- istic curve I needed. It took a third of a century, but once again it's lovely. (239K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Palace of Fine Arts, SF ~ 2011

San Francisco's Palace of Fine Arts is aglow with light during this final stage of its restoration. This digital photograph captures the classic appearance of the pavilion in the classic tones you'd expect to see from traditional B&W sheet film-- a traditional look befitting this elegant edifice. (222K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

Infrared



click here for a full-screen image

Dam and Locks #1, Mississippi River ~ 2009

This print is exquisitely detailed. Click the thumbnail for the usual large JPEG, but to fully appreciate it, you'll need to click this "really large JPEG" link and pan across the images in your browser. You'll be entranced.

    Ultrachrome print:
  • 22" wide by 17" high
  • 36" wide by 20" high
  • 48" wide by 20" high

click here for a full-screen image

Buena Vista Park Path, MN ~ 2009

What I love about this photograph is the way intricately detailed patterns get mirrored in the sky and clouds and trees and lawn. It has a delicate quality not usually associated with IR photography. (352K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

James Hill House, St. Paul MN ~ 2008

Storm's a'comin', and the grainy, gothic quality of this photograph fits the magnificent mansion that belonged to one of the midwest's great robber barons. (239K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Weismann Museum, St.Paul MN ~ 2009

It's mid-day, not midnight, at the Weismann, but infrared photography created an intensity and glow that give it the look of urban fantasy, a faerie castle that's both intruiging and ominous. (232K JPEG)

Ultrachrome print: 22" wide by 17" high


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Como Park Conservatory and Ordway Japanese Garden ~ St. Paul, Minnesota

This lovely series of infrared photographs was made on one day in July of 2015. You may order individual 22" by 17" prints in the usual fashion, but I am also making this entire portfolio available as a limited-edition, numbered boxed set of 14" by 11" prints for $2,000. No individual prints in that size will be sold, and the boxed portfolio is limited to 20 sets.


click here for a full-screen image

Shadowed Pond, Ordway Japanese Garden

(940K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Palms, Como Park Conservatory

(877K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Shaded Shrine, Ordway Japanese Garden

(990K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Stream, Ordway Japanese Garden

(803K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Anthers, Como Park Conservatory

(K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Peggy, Como Park Conservatory

(978K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Memorial Bench, Ordway Japanese Garden

(995K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Lotus Pond and Lawn, Como Park Conservatory

(568K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Curved Maples, Ordway Japanese Garden

(929K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Lotus under Glass, Como Park Conservatory

(738K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Maple over Firs, Ordway Japanese Garden

(923K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Lotuses, Como Park Conservatory

(596K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Fir Branches, Ordway Japanese Garden

(997K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Palms under Dome, Como Park Conservatory

(935K JPEG)

Ultrachrome print: 22" wide by 17" high



Panoramics

Each of these panoramics is exquisitely detailed. You can click the thumbnails for the usual large JPEG, but to fully appreciate them, you really ought to click the "really large JPEG" links and pan across the images in your browser. You'll be entranced.

(If you are interested in a print even larger than 48" wide, please email me. I can print these much larger.)



click here for a full-screen image

Dam and Locks #1, Mississippi River ~ 2009

really large JPEG (496K) (77K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 36" wide by 20" high
  • 48" wide by 20" high

click here for a full-screen image  

Dam #1 Falls, Mississippi River ~ 2009

really large JPEG (852K) (90K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 36" wide by 20" high
  • 48" wide by 20" high

click here for a full-screen image    

Seals Rolling in Surf, Fitzgerald Marine Reserve ~ 2011

The title sums it up. I love the jade light coming through the breaking wave. Here's the really large JPEG (860K) (254K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 36" wide by 20" high
  • 48" wide by 24" high

More Christmas in California



click here for a full-screen image

Blue Forest, San Carlos, CA ~ 2009

These next six photographs constitute the latest additions to my ongoing "Christmas in California" project. In San Carlos, cotton batting stands in for snow drifts. (209K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Xmas Oranges, San Carlos, CA ~ 2009

So very, very Californian-- orange and green Xmas lights twine through oranges and their green leaves, in this brightly-glowing composition. (347K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Xmas Fence, Redwood City CA ~ 2010

Warm pinks and oranges suffuse the sidewalk, fence and house in this light-draped spectacle. (343K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Xmas Corner Market, S.F. ~ 2011

A late December night in San Francisco's Mission District is enlivened by a light-wound fireplug and stoplight. (319K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Light-Wrapped Trees, S.F. ~ 2011

The trees were decorated for Xmas, but the way the warm-white lights bring out the dark, soft browns and greens of the tree trunks and branches makes me think more of the coming spring than the holidays.(368K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Marina Christmas, S.F. ~ 2011

Rainbow strings of lights festively adorn this Marina home, with its white-light Xmas tree, set against midnight's dusky browns and greens (279K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

Water



click here for a full-screen image                              

Minneopa Falls Lace, MN ~ 2010

I made the next two photographs in the Minnesota countryside. The Land of 1000 Lakes, indeed! The prints have gorgeous fine detail that fascinates and engrosses me. What the camera sees that the eye cannot. I've yet to tire of looking at them. (436K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Ripples in Stream, MN ~ 2010

Sunlight beams, split by trees and scattered by the water, combine with reflected patches of sky to create this fractally-intricate pattern of brilliant oranges, greens and blues on the stream's surface.(432K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Grasses in Liquid Sky, St. Paul MN ~ 2008

More "water magic," as the placid reflecting pond mirrors an altered cloud-spotted sky in delicate shades of blue, contrasting with the sharp red and green blades of grass.(299K JPEG)

Ultrachrome print: 22" wide by 17" high


Nature (more or less)



click here for a full-screen image                              

Puddles on Sculpted Stone ~ 2011

At first glance it's hard to tell the size of this subject. It could be anything from a close-up to an American Southwest aerial photo. Hint: look for the snail a bit down and right from center. A satisfyingly-intricate composition in tans and greys. (410K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high
click here for a full-screen image
Pines at Fitzgerald Marine Reserve ~ 2011

A JPEG doesn't do this photograph justice; you can practically fall into it. It has so many textures, so many details and colors at all scales. Click here to see part of the photograph at 100% screen magnification, like looking at a small section of a 50" by 60" print. (535K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high
click here for a full-screen image
Oakland Shipyards across Bay ~ 2011

On this lovely day by the SF Bay, the sun broken through scattered clouds to send beams down on the cranes of the Oakland shipyards. The grey-green waters play beautifully against the cerulean sky. (310K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Mussels, Fitzgerald Marine Reserve ~ 2011

Another photo where the JPEG doesn't do it justice; there is so much texture and so many details in the print. The cobalts and indigos, by the way, are not tricks of lighting; those are these mussels' natural colors. Click here to see part of the photograph at 100% screen magnification; this is like looking at a small section of a 50" by 60" print. (375K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high
click here for a full-screen image
Driftwood Trunk, Fitzgerald Marine Reserve ~ 2011

A strikingly animate piece of wood. Makes me think of whale or elephant bones, done up in tans, golds, and greys. (355K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Palm, Allan Gardens Conservatory, Toronto ~ 2010

The steamy windows of the conservatory soften the light and give this photograph a slightly other-worldy quality. The subtle shades of green, tan, and blue create a simple elegance for me. (242K JPEG)

Ultrachrome print: 17" wide by 22" high


click here for a full-screen image

Moon Bow and Blue Moon, San Jose CA ~ 2009

I photographed the moon bow just about midnight, New Year's Eve; it was the second full moon of the month, hence the "blue moon" title. It's not B&W; the colors are very muted. The large circumlunar ring, arcing behind the palm trees, holds just the most delicate hues.(88K JPEG)

Ultrachrome print: 17" wide by 22" high


click here for a full-screen image

Weathered Sulfur Vent, Volcano National Park HI ~ 2002

"Weathered Sulfur Vent" is from the Jewels of Kilauea project. This is the first chance I've had to print it the way I want, bringing out all the rich and subtle variations of sulfur reds and yellows (it looked terrible as a chromogenic print). (562K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

Urbanity & Technology



click here for a full-screen image

Hotel Roof in Snow, Boston ~ 2011

Nearly, but not quite, a monochrome scene, as a thin layer of snow dusts the roof and ductwork of a downtown Boston hotel. The photograph is mostly light greys, with accents in blues and browns (270K JPEG)

Ultrachrome print: 22" wide x 17" high


click here for a full-screen image

Empire State Building Tower, NYC ~ 2010

The art deco styling of the Empire State Building inspired my interpretation of this oft-photographed edifice. My motto: "Always look up." Or maybe it should be, "Look to the light." Both work for me.(146K JPEG)

Ultrachrome print: 17" wide by 22" high


click here for a full-screen image

Jazz Dinner, Redwood City CA ~ 2009

I love "Jazz Dinner" because it is so atypical of my work, with its muted tones and colors in brown and yellows, not to mention the very shallow depth of field. Not the way photographs usually come to me, but it worked oh so well for me this time. (183K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Sugar & Cream, Ben & Jerry's, VT ~ 2010

This photo has a faintly unreal quality, but I assure you the light and color are entirely natural. My goal was to photograph and print it as I saw it, and I succeeded admirably. Anyway, it was impossible to resist Ben & Jerry's humor. (273K JPEG)

Ultrachrome print: 17" wide by 22" high


click here for a full-screen image

Reflections in Montreal Center, Canada ~ 2009

The colors in both of these photographs of the Montreal Center are real. The building is paneled in tinted sheets of glass that both transmit and reflect brilliant polychrome. It's fun making completely realistic photographs that look so unbelievable. (357K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Stairway in Montreal Centre ~ 2009

Not Photoshop, not artistic artifice. Real-life brilliance and polychromaticity with startling electric oranges and yellows, greens, magentas, and blues(287K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Mall of America Roof, MN ~ 2008

It's hard for me to resist such powerful metallic geometry, especially when it's enhanced by the contrast with blue sky and soft, gauzy clouds.(352K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Trojan Plant Cooling Tower, WA ~ 1978

The Trojan nuclear plant photograph is one of my favorites, with its wonderful cumulus-cloud steam plume. Previously, I could only print its rich oranges and blues as a dye transfer. Here is its debut, 30 years later, as an entirely successful digital print. (153K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Bar Lounge, S.F. ~ 2011

This very traditional "Bar" sign casts a rich neon glow over the surrounding buildings and trees.The blue accents are almost startling, in contrast to the deep reds.(324K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Bryant Park, NYC ~ 2010

Seen from the Empire State Building, Bryant Park shines out with electric emerald brilliance amidst the warm incandescent and sodium vapor street lighting. (294K JPEG)

Ultrachrome print: 22" wide by 17" high


click here for a full-screen image

Statues, Palace of Fine Arts, S.F. ~ 2011

Elaborate mantles and statuary crown the golden columns of the Palace, in these three night views of the nearly-restored edifice.(333K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Beneath the Columns, Palace of Fine Arts, S.F. ~ 2011

Earth tones appropriately dominate in this view of the intricate interplay of light and shadow under the main dome of the Palace. (339K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

click here for a full-screen image

Pillars and Blue Pool, Palace of Fine Arts, S.F. ~ 2011

Golden sodium vapor lamps and blue mercury vapor lamps create colorful contrast in the columns and pool surrounding the Palace. (309K JPEG)

    Ultrachrome print:
  • 22" wide by 17" high
  • 32" wide by 24" high

Scotland ~ 1995




click here for a full-screen image
Plate 1: Stream Bank near River Polly

This signature piece epitomizes the beauty of the Highlands. Grey and brown granite boulders, splashed with white and yellow lichen overlook a deep purple-blue stream. Emerald-green and yellow grasses and ferns provide a backdrop for hot pink heather blossoms. (247K JPEG)


click here for a full-screen image

Plate 2: Swamp with Lilypads near Loch Sionascag

This is what Monet would have painted had he visited the Highlands. Delicate greens, lime-yellow and tans play across pale blue water, surrounded by a deep and intense blue-green landscape, splashed with pastel pink heather and red rowan berries.(231K JPEG)


click here for a full-screen image

Plate 3:Polly River at Inverpolly Forest

Under a grey highlands sky, the rolling and terraced terrain of the Inverpolly valley in verdant greens and delicate blues, with accents of orange and yellow and white. (236K JPEG)


click here for a full-screen image
Plate 4: Rapids Running through Heather and Rock Slabs

Turbulent white, tan and dark blue waters tumble below grey-white layers of rock and the muted reds and dark greens of heather overgrowth. (200K JPEG)


click here for a full-screen image
Plate 5: Heather on Stones Near Armadale Burn

A band of nearly-fluorescent pink heather crosses the middle of this composition, separating the vivid yellow-orange and green ferns above from the somber tan rock and dark green brush below. (233K JPEG)


click here for a full-screen image
Plate 6: Stream Fan-Out at Base of Sgurr an Lochain

All about greens, the base of this stream is plush, velvety fabric of lemons, limes and emeralds, intense and vibrant. (193K JPEG)


click here for a full-screen image

Plate 7: Ruins at Torrisdale Bay

A pale sand beach and dusky blue sea and sky are the backdrop for brown stone ruins on fields of green and pale gold. (168K JPEG)


click here for a full-screen image

Plate 8: Stand of Trees, N. Scotland Coast

A nearly monochrome palette combined with a delicate, subdued landscape under a misty sky creates a distinctly oriental feel in this composition of smoky grays and soft greens. ((83K JPEG)


click here for a full-screen image

Plate 9: Necropolis Overlooking Glasgow

A dark gray and very ominous sky fills with clouds above the distant sunset over the city. The monuments of the Necropolis stand angularly as near-silhouettes in purple-blacks and browns on a dark green lawn. (186K JPEG)


click here for a full-screen image

Plate 10: Greenery on Wall above Rapids

An intricate mosaic of red, pink, green, brown and yellow foliage tiles a canvas of grey-white and black rock. (290K JPEG)

Dye transfer print: 19" wide by 14" high
(also available as a dye transfer print)


click here for a full-screen image

Plate 11: Collapsed Cottage on Isle of Skye

Stone ruins in hues of russet and brown complement natural white, grey and brown rock, overgrown with rich green foliage highlighted with red. (175K JPEG)


click here for a full-screen image

Plate 12: Shoreline at Loch Cluanie

Strong, horizontal bands of color define this composition, with the deep blue of the water and pale tans of the shoreline rocks sandwiched between the vivid greens and cyans of the surrounding hills, accented with flecks of gold and magenta heather. (258K JPEG)


click here for a full-screen image
Plate 13: Clava Cairns and Cottage

Dark and mysterious, deep brown and green standing stones rise against a shadowy forest of blacks, greys, forest-greens and deep maroons. (144K JPEG)



click here for a full-screen image
Plate 14: Heather on Stone at Strath Vagastie

Beautifully textured lichen-covered granite, painted in soft blues, purples and lavenders, is the background for bright pink-white and deep forest-green heather. (280K JPEG)


click here for a full-screen image

Plate 15: Castle Eilean Donan

The late afternoon light warms the tan and russet stone of the castle. That complements the delicate bronze-greens and dusky cyans of the hills, as soft gray fog starts to roll in from the west. (177K JPEG)


click here for a full-screen image

Plate 16: Rowan and Birches, Glen Coe

Intense fiery-red clusters of rowan berries leap out against a background of saturated and muted greens, framed by the brilliant whites and charcoal grays of the birches. (284K JPEG)


click here for a full-screen image

Plate 17: Clouds over Sgurr an Lochain

Billows of white and gray clouds in a chalk-blue sky flow over the deep blue peaks above rough hills awash with pale and fir greens and cyans. (204K JPEG)


click here for a full-screen image

Plate 18: Fields of Heather, East of Loch Ness

Vivid lime and blue-greens mix with wide bands of pink heather to coat the fields and hills with an almost-iridescent patina of subtle blends of color.(238K JPEG)


click here for a full-screen image

Plate 19: Stac Polly

Under a pale grey-blue sky, cool grey stone columns tower over a rubble-strewn slope of green grass and brown gullies. (213K JPEG)


click here for a full-screen image

Plate 20: Stream down Sgurr an Lochain

Vivid shades of lime, emerald and fir green form a velvety covering on rocky hills.(209K JPEG)


click here for a full-screen image
Plate 21: Cliff off of A87 Near Loch Cluanie

Brilliant, white rapids tumble through cold and dark blue-grey waters. The lush landscape is subdued and chilly, rendered in deep cyans, blues and greens. (247K JPEG)



click here for a full-screen image
Plate 22: Rapids at Strath Vagastie

Brilliant, white rapids tumble through cold and dark blue-grey waters. The lush landscape is subdued and chilly, rendered in deep cyans, blues and greens. (242K JPEG)


click here for a full-screen image

Plate 23: Keyhole Cairn, Clava Cairns

A lichen-dappled gray and pale brown stone burial mound sits atop dark brown-green earth against a background of dark, smoky-green trees. (257K JPEG)


click here for a full-screen image

Plate 24: Heather and Ferns Near Armadale Burn

A swath of heather, in nearly-fluorescent shades of pink and magenta, contrasts with vivid yellow-orange and green ferns above and with somber brown rock below. (286K JPEG)


click here for a full-screen image
Plate 25: Cliff Face, Three Sisters, Glen Coe

Weathering creates fascinating textures and fissures in the slate blue-grey and black cliff, surrounded by verdant trees. Patches of heather and rowan berries provide magenta and red accents. (146K JPEG)


click here for a full-screen image

Plate 26: St. Mungo's Cathedral, Glasgow

The black and brown stone that forms the walls and buttresses of the cathedral contrast with pale lime-green copper-clad roofs in this somber, angular composition. (143K JPEG)



click here for a full-screen image
Plate 27: Lochanna H-Achlaise Shoreline

Pale powder- and sky-blues are reflected in the rippled waters of this small, exquisite lake. Green grasses surround the water while pink heather accents the grass and hills. (249K JPEG)






click here for a full-screen image Total Eclipse Coronal Streamers, Cabo Pulmo Mexico -- 1991

This is an exceptionally fine image of a solar eclipse. Set in a dusky and dark blue sky, the full extent of the corona is visible out to four or more solar radii. The delicate nature of the corona is preserved in the fine inner detail, all the way in to the pale pink prominences just barely visible near the silhouette of the moon. This screen image cannot convey the fine tracery in the corona and subtle detail present in the real print. (111K JPEG)



Space Travel



click here for a full-screen image
Apollo-Soyuz at Dusk, Cape Canaveral FL -- 1975

This image shows the floodlit launch complex in stark relief in shades of red, white, grey, yellow and electric green. The backdrop for this is a soft, dark grey-purple sky with clouds. (253K JPEG)


click here for a full-screen image

Columbia at Dusk, Cape Canaveral -- 1981

The first space shuttle glows a cold, brilliant white in the light of the floodlights, set against the spectacular backdrop of a dusky blue sky and fiery red clouds. (182K JPEG)

click here for a full-screen image

Assembly Bay and Gantry, Cape Canaveral -- 1975

This is one of my most popular images. It shows a Saturn assembly area inside the Vehicle Assembly Building, looking almost straight up. The brilliant, strikingly-surreal colors are a combination of the bright color scheme in which the equipment is painted and at least four different kinds of lighting in the building. (300K JPEG)



click here for a full-screen image
F-1 Rocket Engine Nozzle, Cape Canaveral -- 1975

Light and dark browns dominate this view of the interior of the bell of an F-1 rocket engine, striped by thousands of cooling pipes. A visual exercise in linear and circular geometries, combining subtle variations in color with intricate patterns. (168K JPEG)


click here for a full-screen image

Apollo 17 Ignition, Cape Canaveral -- 1972

The Saturn V engines turn the sky deep orange and illuminate the rocket with a brilliant yellow light. Billowing clouds of smoke and steam run from incandescent white through yellow and orange to rich browns. (118K JPEG)


click here for a full-screen image

Apollo 17 Liftoff, Cape Canaveral -- 1972

Colors deepen and become more intense as the rocket lifts off on a pillar of white flame, surrounded by bright yellow-orange clouds, as red and orange light fills the atmosphere. (125K JPEG)


click here for a full-screen image

Apollo 17 Sunrise, Cape Canaveral -- 1972

Sunrise behind a nearly-silhouetted Apollo 17 shows a giant white sun rising behind banks of rich sienna and golden orange-yellow clouds, as a helicopter flies above. A visual poem in microtones of yellows. (138K JPEG)


click here for a full-screen image

Saturn V Engine Cluster, Cape Canaveral FL -- 1975

Hard-edged geometries in whites, grays, browns, and blacks provide a stark contrast to a deep blue sky in this paean to industrial metal. (156K JPEG)


click here for a full-screen image

Purple Gantry, Cape Canaveral -- 1972

Floodlights illuminating Apollo 17 (off-camera left) fill the sky with radiating rays of pale light in purples, blues, and dusky reds. The illuminated gantry glows incandescent in yellows, oranges, and hot reds, all gracefully reflected in the waters spread below the gantry and sky to give this photograph a painterly quality. (181K JPEG)


click here for a full-screen image

Apollo-Soyuz Gantry Rollback, Cape Canaveral FL -- 1975

As the dark purple- and green-lit gantry rolls away, the white and black Saturn I perches on its gray "stool" and launch pad, accompanied by the bright red service structure. Below a deep blue-black night sky, foreground waters reflect the yellow, green and lilac hues of lights illuminating the launch complex. (135K JPEG)


click here for a full-screen image

Apollo 17 Contrail, Cape Canaveral -- 1972

A pointillistic interpretation of the flight of Apollo 17. As the Saturn V nears first-stage burnout, miles downrange, it looks like a fiery comet in the night sky, with a pure white head of flame surrounded by a brilliant-red halo. The flame trails a turbulent, expanding tail of delicate purples, yellows and golds, and deep browns and oranges. (109K JPEG)



click here for a full-screen image
STS 1 in Desert Mirage, Edwards AFB CA -- 1981

Heat ripples rising in the desert air turn the shuttle into an impressionistic painting in fine brush strokes. The white and black shuttle and its white, yellow, and red support vehicles seem to float in the dusty subtle blue "waters" of the desert mirage that mirrors the vehicles. The intense tones and hard edges of the shuttle and vehicles contrast with the soft and dusty desert background. (208K JPEG)


click here for a full-screen image

Saturn V Assembly Well, Cape Canaveral -- 1972

Resembling some abstract geometric construction, this photograph taken straight up into an unoccupied Saturn V assembly bay is composed of concentric, receding circles criss-crossed by strong diagonal structural beams. Red is its single color, accented by blacks, whites, and bands of intense shadow. (236K JPEG)


click here for a full-screen image

Sunset Under Columbia, Cape Canaveral -- 1981

A golden sun sets through red clouds behind the launch complex for the first shuttle mission. Salmon light permeates the sky and clouds, providing a peaceful backdrop to the soft grays and pale whites of the shuttle and its launch complex. (199K JPEG)


click here for a full-screen image

Floodlit Columbia, Cape Canaveral -- 1981

The Columbia, illuminated by floodlights at night, glows like some homage to the Taj Mahal. Almost ghostly pale in its brilliance, in contrast to the dark reds, blues and greens of the support structures. Blue-white floodlight beams fan out diagonally to illuminate the shuttle and fill the sky with deep blue spreading rays of light. (188K JPEG)


click here for a full-screen image

STS 1 Landing Glide, Edwards AFB CA -- 1981

The space shuttle Columbia and its chase plane, nearly pure white and pure black, pass overhead in a deep cobalt-blue sky, as the first space shuttle prepares for landing. (115K JPEG)


click here for a full-screen image

Columbia & Rotating Service Structure, Cape Canaveral -- 1981

Another night photograph of the first space shuttle, with Columbia gleaming brilliant white in a cool slate-gray and green launch complex. Pinpoint yellow lights and red and yellow structural elements against a deep black sky lend color to a largely neutral palette. (215K JPEG)


click here for a full-screen image

STS #1 Liftoff: T+8 Seconds, Cape Canaveral -- 1981

Haze softens the early morning sky of the first shuttle launch, reducing the landscape to muted cool tones and colors. As Columbia clears the tower on a brilliant white and yellow flame, billowing clouds of steam and smoke are tinged with subdued yellows, salmons, pinks, and blues, as if illuminated by sunrise. The dusky blue-gray sky and the multi-hued clouds and flame are reflected in the waters below. (116K JPEG)


click here for a full-screen image

Spacelab Cradle, Kennedy Space Center FL -- 1981

Strong horizontal and diagonal lines and myriad multi-hued variations on yellow dominate this composition. The intense yellows and deep blues of the spacelab facility contrast with the pale greens and grays of the surrounding walls. (242K JPEG)


click here for a full-screen image

Columbia in Late Afternoon, Kennedy Space Center FL -- 1981

A gold sun peeks through broad sweeps of salmon-pink cumulus clouds in a bright yellow-orange sky, sending rays of pink light towards the horizon. A soft gray shuttle and deep gray launch complex stand darkly against this brightly-lit and colored backdrop. (157K JPEG)


click here for a full-screen image

Colby Crane, Vehicle Assembly Bldg, Cape Canaveral FL -- 1972

Criss-crossing beams and girders fill this composition with olive green and brown diagonals. The traveling crane in the foreground mirrors the geometry of the girders at the same time that its intense orange-yellow hues stand in contrast to them. (275K JPEG)

click here for a full-screen image
Shuttle Booster Tie-Down Posts, Cape Canaveral FL -- 1981

Smooth, battleship-gray and brown steel plate and white railings contrast with a cobalt sky and pale blue clouds. Complex shadows wash over the panels in this view of the underside of the launch pad. (102K JPEG)

click here for a full-screen image
Vehicle Assembly Building Low Bay, Cape Canaveral -- 1972

Bright lights and spots of color fill the interior of this complex composition. Yellows, oranges, and greens predominate, with splashes of deep blue, intense red, and hot pink. White light washes down from the tall windows at the end of the bay, highlighting massive girders and panels. (248K JPEG)

click here for a full-screen image
Midnight at the VAB, Cape Canaveral FL -- 1981

I made this image of the Vehicle Assembly Building the night before the first shuttle launch. The deep green of the mercury floodlights contrasts with the yellows and oranges of the sodium and incandescent lamps, which are also reflected darkly in the yellowish sky. The "small" palm trees at the base of the VAB give a hint of its enormous size. (172K JPEG)




You can email Ctein at ctein@pobox.com


This material is Copyright ©2017 by Ctein. All rights reserved.