A MINDFUL LANDSCAPE- Donna Cosentino & Karen Hymer > FIRST PLACE- Steve Eirschele "Artifact"
FIRST PLACE- Steve Eirschele "Artifact"
Steve Eirschele /Artifact
FIRST PLACE
FIRST PLACE
Steve Eirschele-First Place
Jurors Comments:
"A glowing boulder floats in the darkened forest as if it were lit from within. It doesn’t quite belong, as if it rolled down during the ice age and settled there to be discovered by a wandering photographer. There is quiet beauty in the image. A still, otherworldliness is enhanced by the use of monochrome. The appearance of the boulder, smooth with gentle curves, gives the impression of stone carved by hand. The subtle detail in the dark forest provides a hint of place but keeps the viewer wondering… where are we? when are we? The connection between photographer and nature is sensed, leading the jurors to agree that Eirschele captured the spirit of the “Mindful Landscape” through his unique interpretation of this scene."
-Donna Cosentino & Karen Hymer
Q&A: Jurors Donna Cosentino & Karen Hymer interview winner Steven Eirschele
Jurors: "Where do you live and photograph?"
Eirschele: "I live on Whidbey Island, which is in the Salish Sea, an hour or so north of Seattle. This is where I make many of my photographs, including Artifact. However, I do like to travel so many of my favorite shots were also captured while traveling.
When photographing, do you “previsualize” the image? I started my photographic journey in the mid-1970’s while I was attending engineering school at UW-Madison. I fell in love with B&W, a.k.a. Monochrome, photography, especially printing in the darkroom. Much of my education in photography followed Ansel Adams’ footsteps. Of course, the Zone System and Previsualization were his cornerstones so yes, I still previsualize most of my best images. Habit, I suppose. While transitioning from a wet-chem darkroom to a computer-based Lightroom was difficult for me, the time frame from shutter release to print is significantly shorter, making previsualization easier, especially as I get older! "
Jurors: "Tell us about your choice of Monochrome."
Eirschele: "I enjoy capturing images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. The viewer is invited to think a bit about what they are seeing. Perhaps a bit puzzled. What is this object? Where am I? How did it get here? So, I seek out images I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in unique surroundings. And monochrome images play perfectly into this as black and white is abstract to begin with!"
Jurors: "When you are photographing, what excites you?"
Eirschele: "Setting up (previsualizing!) a potentially amazing image with my camera mounted on a tripod. This summer we vacationed in Hawaii. While exploring the beaches of the Big Island I came across an amazing scene. A huge white coral boulder nestled in the expansive jet-black lava beach. Beautiful and dramatic looking across the surf into the western sky. Perfect setting sun and clouds. I spent over three hours at this single location setting up many long-exposure shots. One of my favorite photos of 2024. That’s what excites me!"
Jurors: "Do you generally print your images?"
Eirschele: "I always print my favorite images. I love to print. The magic of watching an image appear in the developer tray is unforgettable. I believe the incredibly important nuances that make a beautiful print are not always appreciated when viewed with transmitted light. You can only truly appreciate these nuances when viewed with reflected light from a perfectly printed image on high quality paper (I love Canson and Hahnemuhle papers!). Then dry mounted, framed behind glass, and proudly displayed on a wall."
Jurors: "This image would make a stunning photogravure or platinum print. Have you played with those processes?"
Eirschele: "I totally agree with your observation. ‘Artifact’ would be gorgeous printed using either photogravure or platinum process. While I am roughly familiar with both processes, I have not been fortunate enough for the opportunity to play with them. The closest I can get with my Epson large format printers is to print this image on highest quality matt paper and try to approach the look and feel of photogravure or platinum."
Jurors: "Are there photographers that have influenced you that you would like to mention? "
Eirschele: "Early on the masters like Adams, Ed Weston, Brett Weston, John Sexton, Fred Picker, David Vestal, and many others heavily influenced my work, and still do. Every now and then I still pull Adam’s ‘The Print’ off my bookshelf for inspiration (and guidance). More recently however, artists (and educators, always learning!) like Keith Carter, Harold Davis, Sam Abel, Les Picker, Mark Galer, and Sharon Tennenbaum have helped me with inspiration and always learning."
MORE ABOUT STEVE EIRSCHELE:
"I have been a professional engineer by degree and career as well as an avid photographer for over 40 years. I fell in love with photography during college at UW-Madison choosing black & white images, which have always been and still is my passion.
In 1977 I joined the Badger Photographic Society in Madison, Wisconsin where I improved my camera and darkroom skills, actively participating in many classes, group critique and workshops, always striving to understand and improve my images.
I designed and built three of my own wet chemistry darkrooms, spending hundreds of hours further perfecting my camera and darkroom techniques using written instruction from masters including Ansel Adams, David Vestal, Michael Keena, Brett Weston and many others. I quickly progressed from 35mm to medium format, a huge leap in producing fine art photographs. I continued to attend many workshops and field outings while displaying and selling my work in public and corporate galleries. I reluctantly entered the digital photography age, giving up my state-of-the-art wet chemistry darkroom for a Lightroom. I once again realized significant opportunities to perfect my art, spending less time in post-processing and more time in the field.
And I still love to print! For me, one of my fine art photographs is not complete until it’s perfectly printed, matted, framed, and displayed on the wall. I use some of the best photographic equipment currently available, so my images are processed from very large files. Each one is meticulously post-processed. Viewing fine art images such as on this website or Facebook or Instagram is very fast and convenient, but you won't see the true beauty and nuances of the image until it’s been perfectly printed.
Today I enjoy perfecting images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. I invite the viewer to pause and think a bit about what they are seeing. Perhaps they are at first a bit puzzled. What is this object? Where am I? How did it get there? After a moment, the viewer then starts to discover the surroundings, preferring to shroud these details in deep shadows. I seek out these types of unique seascapes and landscapes that I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in nature’s unique surroundings."
Achievements and Awards include 1994 Sale of 'Column at Christchurch' to Boston Scientific during corporate display of 15 framed B&W silver halide photographs &
2005 - 2010 Display and sale of three B&W silver halide photographs to Lease Crutcher Lewis, Seattle Washington.
IMAGE FOR SALE-
Paper size is 11"H x 17" W
Canson or Hahnemuhle archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: steve@eirschelephotography.com
www.eirschelephotography.com
THE MINDFUL LANDSCAPE HOME:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer&previewMode=yes
FIRST PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/first-place-steve-eirschele-artifact----/1
SECOND PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/second-place-margo-geddes-pasture-hawthorn----/1
HONORABLE MENTIONS:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/honorable-mentions-jodie-hulden-lucent-matt-connors-in-the-beginning-was-the-dream-annie-lemoux-almost-nothing-john-santoni-concretion-laurel-anderson-white-sands----/1
BEST SERIES:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/best-series-holden-richards/1
EXHIBITION #1
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-3/1
Jurors Comments:
"A glowing boulder floats in the darkened forest as if it were lit from within. It doesn’t quite belong, as if it rolled down during the ice age and settled there to be discovered by a wandering photographer. There is quiet beauty in the image. A still, otherworldliness is enhanced by the use of monochrome. The appearance of the boulder, smooth with gentle curves, gives the impression of stone carved by hand. The subtle detail in the dark forest provides a hint of place but keeps the viewer wondering… where are we? when are we? The connection between photographer and nature is sensed, leading the jurors to agree that Eirschele captured the spirit of the “Mindful Landscape” through his unique interpretation of this scene."
-Donna Cosentino & Karen Hymer
Q&A: Jurors Donna Cosentino & Karen Hymer interview winner Steven Eirschele
Jurors: "Where do you live and photograph?"
Eirschele: "I live on Whidbey Island, which is in the Salish Sea, an hour or so north of Seattle. This is where I make many of my photographs, including Artifact. However, I do like to travel so many of my favorite shots were also captured while traveling.
When photographing, do you “previsualize” the image? I started my photographic journey in the mid-1970’s while I was attending engineering school at UW-Madison. I fell in love with B&W, a.k.a. Monochrome, photography, especially printing in the darkroom. Much of my education in photography followed Ansel Adams’ footsteps. Of course, the Zone System and Previsualization were his cornerstones so yes, I still previsualize most of my best images. Habit, I suppose. While transitioning from a wet-chem darkroom to a computer-based Lightroom was difficult for me, the time frame from shutter release to print is significantly shorter, making previsualization easier, especially as I get older! "
Jurors: "Tell us about your choice of Monochrome."
Eirschele: "I enjoy capturing images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. The viewer is invited to think a bit about what they are seeing. Perhaps a bit puzzled. What is this object? Where am I? How did it get here? So, I seek out images I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in unique surroundings. And monochrome images play perfectly into this as black and white is abstract to begin with!"
Jurors: "When you are photographing, what excites you?"
Eirschele: "Setting up (previsualizing!) a potentially amazing image with my camera mounted on a tripod. This summer we vacationed in Hawaii. While exploring the beaches of the Big Island I came across an amazing scene. A huge white coral boulder nestled in the expansive jet-black lava beach. Beautiful and dramatic looking across the surf into the western sky. Perfect setting sun and clouds. I spent over three hours at this single location setting up many long-exposure shots. One of my favorite photos of 2024. That’s what excites me!"
Jurors: "Do you generally print your images?"
Eirschele: "I always print my favorite images. I love to print. The magic of watching an image appear in the developer tray is unforgettable. I believe the incredibly important nuances that make a beautiful print are not always appreciated when viewed with transmitted light. You can only truly appreciate these nuances when viewed with reflected light from a perfectly printed image on high quality paper (I love Canson and Hahnemuhle papers!). Then dry mounted, framed behind glass, and proudly displayed on a wall."
Jurors: "This image would make a stunning photogravure or platinum print. Have you played with those processes?"
Eirschele: "I totally agree with your observation. ‘Artifact’ would be gorgeous printed using either photogravure or platinum process. While I am roughly familiar with both processes, I have not been fortunate enough for the opportunity to play with them. The closest I can get with my Epson large format printers is to print this image on highest quality matt paper and try to approach the look and feel of photogravure or platinum."
Jurors: "Are there photographers that have influenced you that you would like to mention? "
Eirschele: "Early on the masters like Adams, Ed Weston, Brett Weston, John Sexton, Fred Picker, David Vestal, and many others heavily influenced my work, and still do. Every now and then I still pull Adam’s ‘The Print’ off my bookshelf for inspiration (and guidance). More recently however, artists (and educators, always learning!) like Keith Carter, Harold Davis, Sam Abel, Les Picker, Mark Galer, and Sharon Tennenbaum have helped me with inspiration and always learning."
MORE ABOUT STEVE EIRSCHELE:
"I have been a professional engineer by degree and career as well as an avid photographer for over 40 years. I fell in love with photography during college at UW-Madison choosing black & white images, which have always been and still is my passion.
In 1977 I joined the Badger Photographic Society in Madison, Wisconsin where I improved my camera and darkroom skills, actively participating in many classes, group critique and workshops, always striving to understand and improve my images.
I designed and built three of my own wet chemistry darkrooms, spending hundreds of hours further perfecting my camera and darkroom techniques using written instruction from masters including Ansel Adams, David Vestal, Michael Keena, Brett Weston and many others. I quickly progressed from 35mm to medium format, a huge leap in producing fine art photographs. I continued to attend many workshops and field outings while displaying and selling my work in public and corporate galleries. I reluctantly entered the digital photography age, giving up my state-of-the-art wet chemistry darkroom for a Lightroom. I once again realized significant opportunities to perfect my art, spending less time in post-processing and more time in the field.
And I still love to print! For me, one of my fine art photographs is not complete until it’s perfectly printed, matted, framed, and displayed on the wall. I use some of the best photographic equipment currently available, so my images are processed from very large files. Each one is meticulously post-processed. Viewing fine art images such as on this website or Facebook or Instagram is very fast and convenient, but you won't see the true beauty and nuances of the image until it’s been perfectly printed.
Today I enjoy perfecting images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. I invite the viewer to pause and think a bit about what they are seeing. Perhaps they are at first a bit puzzled. What is this object? Where am I? How did it get there? After a moment, the viewer then starts to discover the surroundings, preferring to shroud these details in deep shadows. I seek out these types of unique seascapes and landscapes that I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in nature’s unique surroundings."
Achievements and Awards include 1994 Sale of 'Column at Christchurch' to Boston Scientific during corporate display of 15 framed B&W silver halide photographs &
2005 - 2010 Display and sale of three B&W silver halide photographs to Lease Crutcher Lewis, Seattle Washington.
IMAGE FOR SALE-
Paper size is 11"H x 17" W
Canson or Hahnemuhle archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: steve@eirschelephotography.com
www.eirschelephotography.com
THE MINDFUL LANDSCAPE HOME:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer&previewMode=yes
FIRST PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/first-place-steve-eirschele-artifact----/1
SECOND PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/second-place-margo-geddes-pasture-hawthorn----/1
HONORABLE MENTIONS:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/honorable-mentions-jodie-hulden-lucent-matt-connors-in-the-beginning-was-the-dream-annie-lemoux-almost-nothing-john-santoni-concretion-laurel-anderson-white-sands----/1
BEST SERIES:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/best-series-holden-richards/1
EXHIBITION #1
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-3/1
