Stand Tall
2020
Stand Tall
One of the many unsolicited lessons of 2020 was the inability to plan for the unexpected. Despite my attempts to map out destinations and subjects for images, forces outside of my control would throw it all to the wayside.
After countless travel cancellations, July proved to be a significant moment. It marked my first trip during the pandemic and was my first visit to the world’s first national park. I embraced the trip as an opportunity to explore a new part of the country over a few days and to enjoy the feeling of traveling once more.
Much of my early work revolved around landscapes. While I learned a lot from the process, I found myself drawn more to the unpredictable quality of photographing wildlife and the inherent variety of images that it provides. I also felt that I connected more with animal subjects in my images than with landscapes. To me, it’s the difference between capturing emotion rather than an aesthetic.
Sometimes, there’s overlap between the two.
Early one morning, I spotted a bison feeding in a marshy area before a wall of trees. I approached slowly to position myself for a better angle but wasn’t presented with much to work with. I crouched in the wet grass until he walked away into the forest. Scanning around for other animals, I noticed a single pine tree standing in the grasses off to my left. From my position, it looked like an interesting subject, but when I moved to stand in front of the tree with the other pines behind it, I knew I had something. It needed no bells and whistles—it was already perfect.
Morning mist cloaked the background as the sun made a feeble effort to pierce through the fog. Just enough light filtered through at that hour to bring out the soft greens in the tall grasses. The highlight, though, was the perfectly placed gap in the tree line that helped the lone pine make an impact.
For all the preparation that can go into capturing an image, Mother Nature often reminds you who sets the stage. That quiet morning, with its ideal conditions and the lone tree still standing tall, conveyed the essence of that period of time better than I ever could.
I was just grateful I was there to see it.
LIMITED EDITION
A moment captured for a life on paper.
Eric works with a renowned print studio in Brooklyn, New York, known for decades of expertise in archival pigment printing. The local lab allows for a collaborative approach, ensuring that his intended vision is expressed in the final artwork. When cared for properly, archival pigment prints can last for over a century.
Archival Pigment Prints
Modern printmaking, refined. Pigment prints utilize state-of-the-art digital technology and high-quality pigment-based inks to achieve striking reproductions. A digital image is applied directly onto the paper using precision inkjet printers, ensuring both image quality and longevity.
Vision meets the surface. Archival papers differ in weight, material, and texture. A paper is chosen to best suit the intent of the piece, from satin finishes to enhance rich shadows and colors, to handmade Japanese rice paper that offers a more textured and vintage feel.
The edition size ensures that only the number of prints indicated will ever be produced. Each print is proofed, reviewed, numbered, and signed by Eric, and includes a Certificate of Authenticity that is unique to your artwork.
Prices from $3,500 USD
Archival Pigment Print
20.25’’ x 36’’ / 51.4 x 91.4 cm
Edition of 15
27’’ x 48’’ / 68.6 x 121.9 cm
Edition of 10
36’’ x 64'’ / 91.4 x 162.6 cm
Edition of 3
45’’ x 80’’ / 114.3 x 203.2 cm
Edition of 2
