JOHN ERIC HAWKINS

The fine art of expressive Black and White photographic prints is far removed from the casual practice of picture taking. Fine Art is made. Created within the mind, recognized by meditation, shared through skillful diligence to the chosen medium.

Photography has the potential of immediacy. Black and White photography gives the available medium to reproduce the range of values that our eyes should expect. The artist that sets himself apart from the crowd not only excels at his craft but, with consistent purpose, communicates the message that is most driven in his mind.

The following portfolios represent twenty plus years of discovering those moments when the sensual lines are empowered by light and I shear them with my Large Format camera, bringing them to the darkroom where I carefully reweave them into a photographic image that recaptures that eyebeam to be shared with those who want a richer vision .

Some technical notes

By Large Format cameras, I should include that the smallest camera I use is the 8x10 view camera. The 8 by 10 inch negative gives me the ability to not only reproduce the most detail in a given image but also allows me to print the longest range of print values. Most figure work is done using the 11x14 camera and some panoramic images are produced using the 8x20 camera.

All negatives are exposed and developed using a carefully tested zone system and processed by hand in open trays.

I use nothing but Fiberbased paper, which is Archivally processed, toned in Selenium, and then mounted on 100% rag board. These prints will last for generations.

I work on an image until it says what I want, and then I try to print between 6 to 12 prints. Some get damaged in processing and are destroyed, the remainders are for sale. I may print in two different sizes, but most prints are available as contact prints (printed directly on the paper, not enlarged). I have not reprinted a negative for sale.

Color Ventures

When working with color I approach subject matter from the opposite direction. These images are produced using 35mm cameras and printed with pigment inks on Somerset archival papers. I use minimal depth of field. I find that the object is at its strongest visualization when the surrounding elements become swirls of color that encompass your minds eye.