Driftwood is the only collection I have that is almost entirely black and white. The work was made over many years on the freshwater lakes and inland streams of Maine, mostly Moosehead Lake and the surrounding wilderness north of Greenville. The subjects are weathered wood, fallen trees, burr reeds, pond lilies, and the patterns that form on the surface of still water.
These are limited edition fine art photographs, hand-numbered, printed in small runs. Every image is shot on film with a large format camera. The reason this collection is in black and white and the others are not is that the patterns I was after here, the lines and ovals of floating flora, the sculptural quality of weathered cedar trunks, would have been lost in color. Black and white forces the pattern to separate from the background.
Most of these photographs were made while standing on a ladder in chest-deep water with a tripod and a large format camera. There is no way to do this comfortably. There is barely a way to do it at all.
Spencer Bay
The Spencer Bay series was made on a stretch of shoreline along the northeast shore of Spencer Bay in Moosehead Lake, Maine. This weathered wood really lends itself to black and white studies. I photographed these in low light, using the shadowed spruce trees as a backdrop to bring out their sculpture-like forms.
Most of the images in the series were created while standing on a ladder in chest-deep water. The cold was constant. The work pace was slow. The trade was being able to compose a shot from an angle no one else would attempt. There are three images in the series. Spencer Bay #1, Spencer Bay #2, and Spencer Bay #3. Buyers tend to collect them as a set or pair them by tonal weight.
Maine Burr Reeds
I like how simple, mundane landscape features such as burr reeds lying on the water’s surface form evocative patterns. The Maine Burr Reeds series really could not be captured in color. The use of black and white film forces the pattern to separate from the background.
Maine Burr Reeds #2 was shot just feet away from the first image, but without the oval pond lily leaves of the prior frame. The original print of this image formerly hung in a Paris apartment. The owner once told me he sees a stick-figure human form in one section of the composition. I always love hearing people’s interpretations of these abstract landscapes.
Little Gott Island, Acadia
I was attracted to Little Gott Island by the texture and detail in the scene. I shot it just after dawn one October in the early 1990s. It was about 35 degrees with a decent wind. I think you can get a sense for how cold it was just looking at it.
Why film, why black and white
People ask me all the time why I still work on film. The honest answer is that the camera I use, a large format film camera, makes a different kind of photograph than a digital sensor does. Black and white film in particular has a tonal latitude that digital sensors approximate but never quite match. The way the highlights roll off, the way the shadows hold detail, the way the grain becomes part of the image at large print sizes. None of that is incidental.
Digital is a wonderful tool. It just isn’t this tool, and especially not for this collection.
The other reason is pace. With large format, you set up the camera, you compose, you wait for the light, and you commit. Each frame costs something. You think before you take it. That slowness shows up in the work, even if you cannot put your finger on why. It is the difference between a snapshot of a fallen tree and a piece of fine art photography of a fallen tree.
More from the collection
Moosehead Lake. A serene black and white lake scene with still water and natural texture. It works particularly well in lake homes, mountain retreats, and minimalist interiors that need a grounding presence.
Moosehead #2. A panoramic black and white study of a stump in a quiet marsh area of Moosehead Lake. The shape reminded me of an octopus when I found it. It looks as though it would scurry away if disturbed.
Indian Pond, Maine. I saw this stump while hiking along the shore of Indian Pond in Big Moose Township. I like shooting black and white in subdued light, and the next day was overcast. I had to use the canoe to bring my gear to the site, including the ladder and tall tripod. I chose an exposure from just when the rain started, because the rain adds dynamism to the scene.
Burr Reeds and Pond Lilies. For the Burr Reeds and Pond Lilies images, I continued my study of floating Maine freshwater flora, but concentrated on the interplay of patterns of lines and ovals. The images are companions and look best paired.
On limited editions
Every photograph in the Driftwood collection is a limited edition fine art photograph, hand-numbered, printed in small runs. When the edition is sold, that is the end of it. The negative still exists, but the edition does not get reopened.
There is a great deal of fine art photography for sale online that calls itself limited edition without actually being limited. I print mine in genuinely small runs. When I say the edition is closed, I mean it.
Bringing a photograph into your home
Black and white photography lives in different rooms than color does. These pieces work in spaces with strong architectural lines, neutral palettes, or modern interiors that would be overwhelmed by color. Lake houses and mountain retreats are the obvious fit. So are libraries, primary bedrooms, hospitality entrances, and corporate boardrooms.
The Spencer Bay and Maine Burr Reeds series in particular work as paired or grouped installations. A wall of three or four black and white pieces at scale becomes a single visual statement instead of a collection of separate prints.
If you have a wall that needs structure and quiet at the same time, black and white fine art photography from this collection is one of the easiest ways to get both.
See it in your space before you buy
One of the things I built into the website is a tool called See It In Your Space. You upload a photograph of your wall, give me rough measurements, and pick a piece from the collection. I send back a rendered preview of the framed print on your actual wall, in the size and frame option you are considering. It takes about a day. There is no charge and no obligation.
Buying fine art photography at this scale is a meaningful decision, and a flat image on a screen does not always tell you what a 60 inch print is going to feel like in a real room. For sizing reference and current pricing, the Print Sizes and Pricing page lays out everything from the 40 inch standard up through custom installations.
See the full collection
You can browse the full Driftwood collection featuring Moosehead Lake here. The collection is updated when new work is finished, which is a few times a year.
Related collections you may want to see
If this collection speaks to you, the work in these collections often appeals to the same buyers:
- Water and Sky. Color work from the open coast of New England, including Cape Cod, Nantucket, and the South Shore.
- Dunes and Estuaries. Marshes, dune paths, and tidal scenes from the South Shore and the Outer Cape.
- Vessels. Wooden boats and harbor scenes from the same New England waters.
- New Releases. The most recent additions to the body of work, including new black and white pieces.
Frequently Asked Questions
Are these photographs digital or film?
Every photograph in the Driftwood collection was shot on film with a large format camera. Nothing is generated, composited, or digitally captured.
How large can these prints be made?
Standard sizes range from 40 inches to 90 inches on the long edge. Custom sizes beyond 90 inches are available for installations that need them. The largest prints I have made have been over 10 feet wide.
Are the prints framed?
Framing is offered on every print. I work with museum-grade framers and match the framing to the image. Unframed prints are also available if you have a framer you prefer.
Are these limited editions?
Yes. Each photograph is hand-numbered and printed in a limited run. Once the edition sells out, no more prints of that image are produced.
Where are most of these photographs taken?
The Driftwood collection is shot in the Maine wilderness, primarily on Moosehead Lake near Greenville, Spencer Bay, Indian Pond in Big Moose Township, and Little Gott Island in Acadia. The collection focuses on freshwater lakes, streams, and the weathered wood found along their shorelines.
Do you offer trade pricing for interior designers?
Yes. The Designer Trade Program is open to working interior designers, architects, and stagers. Trade pricing applies to the full collection.
