George Shattuck

George bought his first camera in 1978 while living on the island of Maui at age 22. It was the highly regarded Rolleiflex 35; a compact range-finder camera with manual controls. It was with that camera that he first became familiar with the triangular relationship between film speed, shutter speed and f-stop. The Hawaiian landscape gave him plenty of creative opportunities to focus on and explore; bamboo jungles, tropical waterfalls, sublime high-altitude sunrises and pristine beaches, all requiring a different set of skills to capture the image authentically. He didn’t know it then, but that period was the genesis of a life-long relationship with landscape photography.

Although largely self-taught as a photographer, he has been mentored through the years by many talented photographers most notably by his friend, Bill Tipper. More formally, he also studied at The Maine Media Workshops in Rockport, Maine. It was there that he became aware of abstracting imagery with camera movement, which has become the foundation for all of his photography.

Based in Salisbury, Connecticut, he travels extensively along the New England coast and islands, the Caribbean and more recently within the Berkshires to find the land and seascapes that will respond to his vision and technique.

“Image making is an intimately personal endeavor. For me, it is a quiet, intensely meditative activity that offers a sense of expanded awareness and connectivity to the environment.
The images that I enjoy creating are those that rely on emotional response and perception rather than the reality of the scene. I often work with long exposures and intentional camera movement in order to reduce what is before me into elemental graphic shapes & colors. I enjoy isolating the details of a scene, often to the point of abstraction; eliminating unnecessary elements in order to emphasize the subject I am working with. This expression often results in images that have what have been referred to as painterly qualities. While using light as my “brush stroke”, I seek to create unique interpretations of the landscape. As I go about this process, my goal is to capture the image organically; in-camera, in the moment and in the field. In so doing, my hope and intention is that the work conveys the feeling of the place that I am in and offers the viewer a subconscious familiarity to a place that they themselves know or have visited. I am enormously attracted to and inspired by the beauty, magic and mystery of our planet. As many of my images show, I am particularly attracted to water. But whenever I find myself alone in a vast landscape, when I am behind the lens, it is here that I find my voice and my joy.”

Most of my images are created while moving the camera with the shutter open. The exact extent of that movement depends upon many variables and how the elements that affect the normal mechanics of capturing an image (choosing ISO, aperture and shutter speed) come into play. Ultimately it has become a process based upon thousands of exposures. I am often inspired by the flight of birds or the motion of the tides as a guide in deciding how much movement to use; each shoot is unique in that way. Sometimes the movement is sweeping; creating dramatic minimalist shapes and colors while at other times, the movement is more contained; which creates imagery that project impressionistic qualities.

I shoot with Nikon digital camera equipment. Ambient light is critical in the process and I utilize an assortment of light-blocking, polarizing and warming filters to achieve the results you see.

Each print that I offer is produced one-at-a-time, by hand and goes through a careful inspection process before leaving the studio. At every step of this process, only the highest quality, most permanent and most archival materials are utilized. Because of this unyielding commitment to quality, the prints will last a lifetime without degradation to color or substrate. The prints are produced digitally using state-of-the-art archival pigment ink printing technology (often referred to as “Giclee” prints). They are printed on award-winning stock from Hahnemuhle artist’s papers. These papers offer a smooth texture but with a slight stipple optimized to yield colors of unmatched depth and unparalleled tonal separation. Each image is presented in a signed, limited edition of ten. Custom printed sizes and editions are available upon request.

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