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Like most landscape photographers, my love of photography was an outgrowth of my love for the landscape.

At eleven I joined the Boy Scouts and discovered my love of all places outdoors; of hiking and backpacking and camping and in just being out of the house. And, like so many photographers, a camera was along on most of my outings being used to record what I was doing for others to see.

As I got older, my enjoyment of the outdoors only increased and I began to use the camera on a more intense level as a means to capture scenes while on the many rock climbing trips I made (climbing has been a passion for over 25 years) and to try to impart to others the sense of the wonder I was feeling at being in places only few could imagine.

In college, my parents gave me a new 35mm camera and lens that increased my interest in photography and prompted me to begin a serious study of the medium. It was in those early photography classes where I discovered I enjoyed photography much more than the business classes I was taking and I had an aptitude for picture taking I did not have for accounting!

It was also in these classes I discovered the work of several great photographers, many of whom inspire me to this day. Image makers like Ansel Adams, Brett Weston, Paul Caponigro, William Clift, Ray McSavaney, John Sexton and Steve Mulligan all serve to influence and inspire me to work hard at the art I love.

My studies continue to this day and I have been lucky enough to take several workshops from many of the photographers who have been an influence on me (Howard Bond, John Sexton and Alan Ross). I cannot thank them enough as they continue to offer words of encouragement and assistance whenever I ask.

With a growing family and busy work life, photography is as important now, if not more so, as it was many years ago. Photography allows me to find quiet in the chaos of my day. It allows me to focus on a singular moment and thus separate myself from the stress of work and the world. This may seem cliché but I actually think photography makes me a better husband, father and person as it helps me understand the moment is fleeting and we should make the most of the few moments we have.

Representation:

Currently seeking representation

Featured Student, Ansel Adams Gallery, Yosemite, California

Writings:

"The Legacy of Ansel Adams and Minor White"; View Camera, November/December 2005
"An Intutive Eye:The Photography of Steve Mulligan"; View Camera, March/April 2006
"Alan Ross: A Vision of His Own"; View Camera, July / August 2006
"Merg Ross: Catching Elegance"; View Camera, Sept / Oct 2006
"Allen Rumme: Markings"; MAGNAchrom, Volume 1, Issue 3, March/April 2007
"Ray McSavaney: Selected Moments"; View Camera, May / June 2007
"Kirk Gittings: The Edge of Darkness"; Magnachrom, Volume 1, Issue 5, July/August 2007
"Steven Fey: Crafting a Life In Photography", View Camera, September/October 2007
"Tripod Options", View Camera, November / December, 2007
"Howard Bond: Revealing Moments'; View Camera, January / February 2008
"The Ziatype", View Camera, March / April 2008
"A Step by Step Guide to the Ziatype", View Camera, May / June 2008
" A New Tool for the Darkroom", View Camera, May / June 2008
"The New Adox MC111 VC Paper", View Camera, September / October 2008
"Exploring the Palladium Na2 Process"; View Camera, November / December 2008
"Chris Honeysett: The Essence of Form", View Camera, January / February 2009
"Aspens: Photography by Eric Biggerstaff", View Camera, March / April 2010
"A Spece for Faith: The Photographs of Paul Wainwright", View Camera, July/August 2010
"A Silver Printers Paper Delima", View Camera, September/October 2011
"Group Think", View Camera, March / April 2012

Workshop Assistant:

Ray McSavaney, The Ansel Adams Gallery Workshops


Technical Notes

While I enjoy playing with digital photography, I am still a traditional film based photographer and will be for as long as I can get film. I am not against the advancement of digital image capture; I simply like the connection to the past I feel with traditional photography.

I use large format cameras when working in the field and use either a Tachihara 4X5, a Zone VI 4X5 or a Conley 5X7 large format camera. For film, I use TMax 400 rated 320,Ilford FP4+ 125 rated at 100 or Ilford Delta 100 rated at 100. The TMax and Delta films are developed with Ilford DDX or Rodinal and the FP4+ is developed with Rodinal.

My lens kit is small, simple and consists of a Rodenstock Grandagon-N 90mm f6.8, a Nikon 120mm f8, a Rodenstock Apo-Sironar S 150 mm f5.6, a Caltar II-E 210mm f6.8 and a Nikon M 300 mm f9 and a Fujinon A 400T f8. Of these I use the Rodenstock APO-Sironar S 150mm about 70% of the time on the 4X5 and the Caltar 210mm at 70% of the time on the 5X7.

For my printing, I prefer Adox MC111 or Foma Fomabrom Varient 111 fiber based paper.They both have a lovely surface and the slightly warm brown/black tone that seems to suit my subject matter well. All prints are archival processed and the image is selenium toned at 1+10 for about 1 to 2 minutes giving the final image a slightly heavier tone and the selenium also makes the print very stable.

I seem to prefer shooting in the last bits of light available at the end of a day. I think great images can be made at anytime and in any light (look at Edward Weston’s work), I just seem to find more free time at the end of the day, and am too lazy to get up at 4:00 AM every morning to go to a location!


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