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Jeff Corwin
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Yet he is continually curious and experimental. While his mainstay at present is landscape photography, he has rich bodies of work that go in other directions, such as two portrait series, Farm Workers and American Architects, and his Guns in America series – mini indoor installations which rely heavily on props, sets that he built and harshly lit with tweaked and intense saturated colors.
He is also undertaking color in his landscapes. After decades of photographing in black and white, his initial forays into color photography were disappointing to him. A problem solver, he rose to the challenge. He began to search for a solution and landed on a technique that is more painterly and interpretive, with colors muted and shifted in temperature, yet the character of the photographs remains the same.
Corwin's self-admitted "glass half empty" is rapidly filling to the top. A full glass. There is no other way to describe it.
Jeff Corwin, World Renowned Commercial Photographer, Captivates The Art World With His Fine Art Photography! And Corwin’s modest refrain: Simple shapes. Graphic lines. Eliminate clutter. Light when necessary. Repeat.
Corwin’s approach to his poignant fine art photography sounds unassuming, but it belies the rigorous aesthetic he harnesses when aiming his lens. The art and design principles of balance, rhythm, pattern, emphasis, contrast and unity are the solid foundations buttressing his creativity. His seamless and successful transition into the fine art world is in large part due to the same exacting vision he used for his commercial work.
Corwin appreciates the artistry of Edward Hopper, the realist painter of twentieth-century America. Hopper was selective in his vision, reflecting his own temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint. Hopper was a master of light, often depicting cold, bright, and intense light, natural and man-made, that could be merciless. As with Hopper, Corwin is focused on the introspective aspects of what we see.
Recently called out on this “negativity,” Corwin contemplated what would happen to the imagery he enjoys creating if he tried to navigate his approach towards something more archetypal, towards the celebration of the glory of mountains and beautiful meadows and late afternoon light. He wondered if he would end up with, in his words, “sparkly, saturated photos,” the antithesis of the powerful stark tones of his characteristic images that undergird his subjective expression. He experimented and attempted to go against his instincts within certain bodies of work; it has yet to be creatively satisfying.
