A root-bound plant is an interesting thing. The roots have grown so much that they take up every bit of available soil, binding it, and taking on the shape of its container. When gardening, I still feel a sense of wonder as I observe how the roots have taken on the popsicle-like shape of the nursery tray. It’s such a visual expression of how the plant, no matter how beautiful, has grown as much as it can in the space provided. The nursery tray has a job to do, but it only lets the plant grow so far. So there is an excitement in planting, knowing that that the roots can finally spread, the plant can grow, and the once small, beautiful plant, can start growing more blossoms and more fruit.
Life has a way of making us root-bound too, filling up our containers and not leaving us enough room for all the directions we want to grow. It’s a good thing to be repotted from time to time.
For the last twenty-two years I have lived and photographed in and around Yosemite National Park and the Sierra Nevada. For three of those years I lived right in Yosemite Valley, at a little house that Ansel Adams lived in. That was just one of the perks of working at The Ansel Adams Gallery, where I was able to meet some of the most talented landscape photographers in the world (sometimes by accident, like the time I tried to kick Galen Rowell out of our staff parking lot). It also afforded me the chance to carefully study the most carefully crafted and expressive photographic prints from masters like Ansel Adams, Christopher Burkett, Charlie Cramer, and a host of others.
My passion is and will always be for finely crafted (fine art) photographic prints, which led me to leave Yosemite in 1998 to start a printmaking studio dedicated to making the finest quality digital prints, at a time when digital printing was in its infancy. The early years were a very exciting time for this because I was able to print the first digital show for Galen Rowell (100 pieces!), museum shows for grand masters like Jack Dykinga, gallery prints for Robert Glenn Ketchum, a book for Frans Lanting, build the first website for William Neill, and the first digital prints for more artists than I can recount. As the studio grew and added other talented staff, we completed thousands of amazing projects. As I write this, prints made by my studio are hanging in the Smithsonian, celebrating the 100th anniversary of the National Parks.
As great as owning a printmaking studio was, time, and life, made me root-bound. My role changed from printmaker to business owner and all the responsibilities that entails. Kids, cancer, and the great recession all changed the formula, and the time to do the photography I loved disappeared. It was time for repotting but I didn’t know how to do it…so life did it for me.
I started 2016 with our print studio at its peak, making the best prints in our history, six years of consistent growth under our belt, and expectations for continued growth. But the fine art segment took a hit in 2016, and talking to several other lab owners, it was industry wide. I was positioned for growth, not for pulling back. A year of fighting the sales drop left my pockets empty. I couldn’t go forward any more, so I sold the business to another highly respected lab who could continue to serve my customers.
It was a painful process, but being uprooted is turning into a blessing in disguise. Yanked out of my pot I decided to transplant to the Nashville area. It’s as different from Yosemite as you can imagine, but the concentration of talent and creativity created by the Nashville music industry has fostered one of the richest artistic communities in the country. Couple that with a beautiful countryside, and it’s a great place replant.
Now it’s time for these bound-up roots to grow, and to thrive again as a photographer. It’s time to continue to make new photographs, show my prints, and share with others all I’ve been able to learn by working with the best of the best photographers for the last twenty-two years. It’s a journey I look forward to sharing with you on this blog.