Light and shadow. Simply put... photography is about light and shadow.  Without light... no image.  Without shadow... no definition, no tonality and no photograph.  The definition of photography has changed dramatically since the fifties and sixties. The science of photography could then be defined simply as the chemical process of controlled and focused light interacting with a piece of celluloid embedded with a silver halide chemical.  Today photography encompasses the use of film, digital imaging devices and video processes.  But regardless of the device or method of capture, the one constant has always been, and will always be... light and shadow.

I believe that light, and the varying degrees of the absence of light are the basis of photographic art, as well. Having accepted that thesis, the range of potential subject matter is boundless.  A big factor in delineating a photographer’s particular style is the way in which she uses light to define her subject.  For thirty years I worked as a cinematographer, DP, cameraman... as a photojournalist early on, then shooting and directing documentaries, commercials, and entertainment programing.  I was gifted with a great “eye.”  And once I realized my gift and learned to trust it... it gave me tremendous freedom to explore different styles, techniques, and especially light... artificial and particularly natural or available light. When out shooting documentaries... regardless the subject or nature of the film... I would occasionally draw the producer’s ire as I would drift off to shoot footage of a sign, or the side of a building, or a group gathered down the block, back-lit in mid winter, with cigarette smoke and condensed breath rising above them.  Though at the time I risked pissing off an already harried producer... 90% of that distinctly lit footage would end up in the piece... and later, a phone call or email thanking me for “going the extra mile.”  Going the extra mile?  So, for a greater part of a thirty year career shooting highly planned, tightly organized, time-budgeted, story-boarded network programming... I was drawn toward, sometimes distracted by, what truly inspired me... the stunning beauty created by light and shadow... found anywhere... inside or out, day or night.  My point is... if light and shadow are the essence of your esthetic value... as is my case... the subject matter is virtually boundless. The only other responsibilities the photographer has is finding the best angle, exposure, and framing to capture it.

I am also highly motivated by the evolving technology.  In the mid to late ‘70s I was in the eye of the video hurricane as it swept through network news divisions and gave birth to what is now referred to as "electronic journalism."  Pencils and pads gave way to PDAs and laptops, Speed Graphics, used well into the 1960s were replaced by 35mm SLRs which in turn gave way to digital SLRs almost ten years ago.  I am fascinated with the opportunities... creative opportunities that digital photography has presented.  Not only shooting with professional DSLRs but working with images in the "digital darkroom," doing essentially the same nudging... dodging and burning as was practiced in chemical darkrooms. Finding my creative balance working with digital equipment and software has been a rebirth for me on many levels. Some photographic truths will never change no matter how much the technology changes.  I believe that you can stand on any spot anywhere, in any city, any room, any environment (no dark closets)... and within the 360 degree arc of vision there will be an unlimited number of photographic opportunities.  High, low, wide, compressed... it's all there... you need only to open your eyes and catch the gossamer. That notion has been at the core of my artistry (and success) for many years.  That, a good eye, an understanding of the technology, and a deep appreciation of light and shadow... is the creative truth as I know it.

jeff weinstock / 2009