Beaver Street Gallery |
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The Grand
Canyon -
Images from Deep Time
Wes Timmerman
October 1 - November 29, 2007
MORE INFORMATION |
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Installation View
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Installation
View |
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Experiences that we are privileged
to enjoy in the National Parks, wilderness areas, and rural landscapes are unique to all
who engage them. The important areas that have been set aside are truly national and natural treasures to be
preserved and protected for future generations.
In addition to capturing some of the beauty and fascinating forms, part of the inspiration
for my photography is to convey a sense of the historic and yet timeless quality of
pristine terrain. It is when I delve into these places that I'm most inspired to realize
the emotional value of the natural landscape. It is, after all, our true home. I think
that my subconscious, seasoned with my life history, seeks these places and influences the
making of an image. Likewise, the history of the viewer influences their interpretation of
that image. The many possible combinations of interaction are, I think, key to the
vitality of art forms and the desire to create them.
Wes Timmerman
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Escalante Beach (2006)
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Archaic
Panel 1 (2001) |
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Rapid
Sunrise 1 (2006) |
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Rapid
Sunrise 2 (2006) |
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Deer
Spring (2006) |
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Vishnu
Schist (2007) |
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Shinumo
Shore (2006) |
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Oxides
(2006) |
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Deer
Creek Sunset (2006) |
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Shinumo
1 (2006) |
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Evening
Sandbar (2004) |
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Deer
Creek (2006) |
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Hakatai
Patio (2007) |
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Mooney
Falls (2005) |
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Esplanade
Wall (2005) |
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Shinumo
2 (2006) |
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Hakatai
(2006) |
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Rock
Effigy (2007) |
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Rampart
(2004) |
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Tapeats Sandstone
(2006)) |
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About
the Prints
There are many ways to make interesting and beautifully
printed photographic images. That diversity is part of what makes photography a
member of the fine art community.
These photographs were made using film exposed in a 4x5 field camera. The goals I
have for producing large format prints are the following:
· Accurately and
perceptually reproduce color;
· Make
archival prints that will hold the color for a long time without fading;
· Render
the prints with a minimum of reflection from the print surface.
Because of the wonderful advances in digital and printer technology, I now have the
ability to reliably achieve those goals. As part of the creative process, I scan the
4x5 film; then edit each image in Photoshop and print on high grade, heavy-weight photo
cotton rag paper using UltraChrome inks. This process enables me to make limited
edition prints with a color and tonal range that represents my intent accurately.
In some cases, when I feel the form is more important than color, the image is rendered in
sepia tone. The presentation of these images involves a desire to convey an
impression of the subject at least as much as the literal representation. The
elements of composition, texture, pattern and rhythm form the image structure and are
enhanced when displayed with adequate lighting. To preserve the archival rating of
approximately one hundred years, the prints should be framed with archival methods and be
displayed out of direct sunlight.
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