Bring Back the Experience
About the Art
THE ARTIST'S EYE
The starting point for any work of art is the artist. The power of the artist's idea and the skill in developing that concept are the ingredients for a memorable work of art. An oil artist appears to begin with that proverbial blank canvas - but truly begins with a vision of the finished work, the idea. Similarly, a photographic artist has a vision of the desired final image; Wayne also practices what Ansel Adams called "previsualization", and wishes he could do it half as well!
Wayne has invested many years learning to read the light, understanding and exploring the rules of composition, discovering the behavior of lenses and camera bodies, and testing the limits of film. This classical training and field experience accounts for the excellence in his art, and prepares him to search for his next image.
Wayne feels that about 90% of his time devoted to making photographs is really reconnaissance - seeking out the best settings, times of day, and lighting - and returning when sweet light makes the view ideal. He often arises well before dawn, carries a 38-pound backpack and large tripod, hikes in extreme heat or cold, often with hungry mosquitoes as companions. It's a job!
It is not easy to bring back the sensory experience of a place on film, yet that is Wayne's goal. He studies the details that shape a visitor's experience when in a beautiful place. Then he works to combine optimum camera placement, choice of lens and exposure, with the right time of day to return with memorable photographs.
Wayne hopes you are able to vicariously visit places around the world that you may have only heard about - and re-visit special places that you have experienced, through his photographs. When one of his images is hanging on your wall, you will be able to connect with that setting.
Here is the artist bonding with his light meter on
a mountain trail in Acadia National Park, Maine.
CAUTION: Enjoying Wayne Hill's photographs in your home or office
may cause you to lose your bare walls . . .