About the Artist
Mother Nature has many moods. In changes of season, the positions of sun, various weather conditions, the patterns are inexhaustible. Erskine Wood has sought to capture that instant when Nature is at her best. Unlike photographers who 'photoshop' their images into a dreamlike state, Erskine believes that photographs taken under Nature's best conditions, and printed to the highest standards, need little enhancement. Nature's beauty stands alone. To clarify. Erskine does believe that the digital age of photography does allow one to correct contrast and color casts, a limitation of films and photographic papers, to what the human eye actually sees.
His work, a collection of traditional and original prints, has been exhibited world-wide and received numerous international awards and honors. His subjects are the colors, graphic patterns, and moods of nature found from the smallest detail to the grandest scenes.
Erskine Wood grew up in Portland, then moved to Eugene to get his degree and license in architecture. After ten years, first in a large firm, then a short time on his own, Erskine left his architectural practice to become a full time landscape photographer. In 1976 Erskine Wood Photography opened its small gallery in the Fifth Street Public Market in Eugene, Oregon. Beginning in 1982 Erskine sold his work in Saturday Markets and many of the Northwest's finest art festivals. The gallery remained open until 2004, when Sandy and Erskine chose to move to Vancouver, Washington.
Though semi-retired and in his early 80's, Erskine continues to photograph part time, and sell his images through local galleries, and the internet. All phases of work, from digital processing and printing to mounting and matting are produced by him. Large and medium format view cameras were the standard for thirty years. For twenty five years Erskine used a Linhof Master Technica (4"x 5") camera and a 60# backpack with five lenses, several sheet-film holders, a large tripod and other camera gear. Later a medium format Fuji 6X680 III (6x8cm) covered the balance of work with a backpack weighing half as much. With the advancement of films the quality was as sharp. The distinct advantage using each of these view cameras is the ability of the lens to swing, tilt, and shift to increase depth of field and control perspective while the larger format films also increased sharpness. With the advent of digital photography Erskine waited until he felt the quality of digital imaging equaled or exceeded that of film. He currently uses a Nikon D850~47mp.
A basic selection of a Singh-Ray polarizer and a 2-stop graduated neutral density filter was, and still is used as needed, to balance existing light conditions. The exceptional color and brilliance of the photographs are accomplished at the time of exposure through the photographer's choice of optimum light, mood, and season for each image. With almost 50 years of experience in color printing, each photograph is done by Erskine personally. The introduction of digital printing from the high-resolution film scans (also by Erskine) permits even greater control over the final print with greater detail in highlights and shadows, ability to control contrast, removal of unnatural colorcasts, and exceptional sharpness. All images are optimized for best contrast.
Early prints were made on Kodak papers on a Colenta C-41 processor. As the photographic industry went through a revolution, films and photo papers improved their resistance to fading. Fine-grain Fuji Velvia 50 film with its stability-and rich colors became a new favorite for landscape photographers. It’s very slow film speed of 50ASA mandated the use of a good tripod for almost every photograph. Photographic prints beginning from 1993 until 2000 were made by us on Fuji Crystal Archive paper. All newer prints are printed with Epson’s 7800, 9880 or a Canon Pro 2100 Ink Jet printer. These archival inks and papers are selected for their reproduction accuracy and lightfast stability of displayed color prints. These prints are conditionally tested for up to 100 year lightfast.
These photographs represent many miles of travel, many hours, even days, of waiting for the right moment. We hope you will share and enjoy these moments with us.
Mother Nature has many moods. In changes of season, the positions of sun, various weather conditions, the patterns are inexhaustible. Erskine Wood has sought to capture that instant when Nature is at her best. Unlike photographers who 'photoshop' their images into a dreamlike state, Erskine believes that photographs taken under Nature's best conditions, and printed to the highest standards, need little enhancement. Nature's beauty stands alone. To clarify. Erskine does believe that the digital age of photography does allow one to correct contrast and color casts, a limitation of films and photographic papers, to what the human eye actually sees.
His work, a collection of traditional and original prints, has been exhibited world-wide and received numerous international awards and honors. His subjects are the colors, graphic patterns, and moods of nature found from the smallest detail to the grandest scenes.
Erskine Wood grew up in Portland, then moved to Eugene to get his degree and license in architecture. After ten years, first in a large firm, then a short time on his own, Erskine left his architectural practice to become a full time landscape photographer. In 1976 Erskine Wood Photography opened its small gallery in the Fifth Street Public Market in Eugene, Oregon. Beginning in 1982 Erskine sold his work in Saturday Markets and many of the Northwest's finest art festivals. The gallery remained open until 2004, when Sandy and Erskine chose to move to Vancouver, Washington.
Though semi-retired and in his early 80's, Erskine continues to photograph part time, and sell his images through local galleries, and the internet. All phases of work, from digital processing and printing to mounting and matting are produced by him. Large and medium format view cameras were the standard for thirty years. For twenty five years Erskine used a Linhof Master Technica (4"x 5") camera and a 60# backpack with five lenses, several sheet-film holders, a large tripod and other camera gear. Later a medium format Fuji 6X680 III (6x8cm) covered the balance of work with a backpack weighing half as much. With the advancement of films the quality was as sharp. The distinct advantage using each of these view cameras is the ability of the lens to swing, tilt, and shift to increase depth of field and control perspective while the larger format films also increased sharpness. With the advent of digital photography Erskine waited until he felt the quality of digital imaging equaled or exceeded that of film. He currently uses a Nikon D850~47mp.
A basic selection of a Singh-Ray polarizer and a 2-stop graduated neutral density filter was, and still is used as needed, to balance existing light conditions. The exceptional color and brilliance of the photographs are accomplished at the time of exposure through the photographer's choice of optimum light, mood, and season for each image. With almost 50 years of experience in color printing, each photograph is done by Erskine personally. The introduction of digital printing from the high-resolution film scans (also by Erskine) permits even greater control over the final print with greater detail in highlights and shadows, ability to control contrast, removal of unnatural colorcasts, and exceptional sharpness. All images are optimized for best contrast.
Early prints were made on Kodak papers on a Colenta C-41 processor. As the photographic industry went through a revolution, films and photo papers improved their resistance to fading. Fine-grain Fuji Velvia 50 film with its stability-and rich colors became a new favorite for landscape photographers. It’s very slow film speed of 50ASA mandated the use of a good tripod for almost every photograph. Photographic prints beginning from 1993 until 2000 were made by us on Fuji Crystal Archive paper. All newer prints are printed with Epson’s 7800, 9880 or a Canon Pro 2100 Ink Jet printer. These archival inks and papers are selected for their reproduction accuracy and lightfast stability of displayed color prints. These prints are conditionally tested for up to 100 year lightfast.
These photographs represent many miles of travel, many hours, even days, of waiting for the right moment. We hope you will share and enjoy these moments with us.
From 1980 through 1995, then again starting 2021, Erskine participated in many of the Photographic Society of America's (PSA) International Salons for Color Photography held in this region. A typical Salon would accept a third of approximately 300 to 400 entries for exhibition, from the United States and twenty to forty other nations. The awards and honors won are listed below;
Year, Event, Award, Title & Reference Number
1980 Lane County Fair, First Place Award, Fishing Boats ~ Ref# 76 0052
1981 Oregon State Fair-PSA Int'l, People's Choice, Mt Jefferson at Dusk ~ Ref# 77 1447
1983 Oregon State Fair-PSA Int'l, Bronze Medal, International Detail ~ Ref# 85 2247
1983 Vancouver BC-PSA Int'l, Honorable Mention, Lichen on Stone ~ Ref #82 1104
1984 Northwest International PSA,, People's Choice, Seattle, 1984 ~ Ref #84 2864x1
1984 LA County International-PSA, Gold Medal~(SW), Snow Canyon ~ Ref #83 1800
1984 LA County International-PSA, Best of Show~(EW), International Detail ~ Ref #83 1800
1984 LA County International-PSA, Honorable Mention, Lichen, ~ Ref#82 1104
1985 Oregon State Fair-PSA Int'l, Atkeson & Gold Medal, Antelope Canyon ~ Ref #81 3220
1985 Oregon State Fair-PSA Int'l, Honorable Mention, Rhythm in Dunes ~ Ref #82 2104
1985 Northwest International PSA,, People's Choice, Canal Scene, Holland ~ Ref #85 3369
1987 Oregon State Fair-PSA Int'l, Honorable Mention, Detail, 37Chev ~ Ref #82 2077
1987 Oregon State Fair-PSA Int'l, Honorable Mention, Coastal Trees ~ Ref #85 3462
1987 Oregon State Fair-PSA Int'l, Honorable Mention, Buck Creek ~ Ref #81 1239
1989 Northwest International PSA,, Best of Animals, Red Fox Pup ~ Ref #89 1678
1990 Northwest International PSA,, Best of Scenics, Mt Rainier, Paradise ~ Ref #89 4479
1990 Great Western-PSA Int'l, Honorable Mention, Grand Canyon ~ Ref #89 4377
1990 Central Washington-PSA Int'l, Honorable Mention, Canyon Detail ~ Ref #89 4399
1991 Oregon State Fair-PSA Int'l, Honorable Mention, Columbia River Gorge ~ Ref #91 5366
1991 Northwest International PSA, People's Choice, Bass Harbor Light ~ Ref #91 5145
1993 Northwest International PSA,, People's Choice, Moose Brook ~ Ref #91 6125
1993 Northwest International PSA,, Honorable Mention, Leaves and Rock ~ Ref #91 6113
1994 Northwest International PSA,, Best of Scenics, S-Curve, Coyote Buttes ~ Ref#93 6541
1995 Northwest International PSA,, Best of Scenics, Goose Pond ~ Ref #94 7228
1995 Oregon State Fair-PSA Int'l, Gold Medal, Lightshafts, Antelope ~ Ref #95 7431x1
(no submissions from 1996 to 2020; Oregon State Fair has dropped it’s PSA Int’l Salon)
2021 Northwest International PSA,, Honorable Mention, Dories, Mill Cove, ~ Ref 99 9852
2021 Northwest International PSA,, Honorable Mention, Tunnels Beach, ~ Ref 17 1278
2021 Northwest International PSA,, Judges Choice, Rialto Beach Stones, ~ Ref 02 2171
2021 Northwest International PSA,, Best of Scenics, Mt Rainier, Edith Creek, ~ Ref 20 3577
2022 Northwest Int’l PSA,, Honorable Mention, Antelope Canyon (B&W) ~ Ref 14 5959