Seattle Fine Art Photographers - Harry Goldstrom Photography

Harry Goldstrom Photography
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In the darkroom
In the darkroom
Assisting a student during a field workshop
Instructing in the field, Utah, 2000
Tetons 1957
With my maternal grandfather and my trusty Kodak Brownie!
Grand Tetons, Wyoming 1957

From my earliest recollections as a child I've had an interest in photography.  As a 7 year old I used a Kodak brownie in the Grand Tetons to capture my first photos.  During my high school years I was continually asking my Dad to borrow his Argus C3 for my exploits as my fascination with photography grew. Toward the end of my college days in Madison, Wisconsin I had purchased my first SLR camera and was using a fellow student’s closet darkroom (with no running water) to process my first black and white prints.  The experience was exhilarating.
 
Many years passed before I had access to another darkroom, and I had become interested in progressing to using larger film formats.  Then in 1989 I was fortunate enough to encounter one of those life changing events……I walked into a Seattle camera store and met a photographer who would forever impact my life.  He offered advanced classes in black and white photography, encouraged me to progress to large format view cameras, allowed me use of his darkroom, and assisted installing one in my home.  The ensuing years were filled with attending and teaching workshops while continually working to improve my photography.
 
My format of choice is 4x5, although I also work in 6x6 cm and some occasional 5x7.  In today’s increasingly digital world, I much prefer continuing to work with traditional film and chemical processing.  I become just as excited today as I first did over 40 years ago watching a print come up in the developing tray or looking at a negative as I remove it from the fixer.  The process continues to be a source of great enjoyment - as much as the field experience of taking the photograph.
 
I was originally drawn to the intrigue of the natural landscape by my undergraduate geology training in college.  Over the years that training has been reflected in much of my landscape photography.   In more recent years I have started to incorporate what I refer to as the abandoned landscape into my portfolio.  I find the dichotomy most interesting.

I would be remiss without acknowledging several people whose teaching, support, and assistance have been invaluable.  Thank you to Bob Joneth for those early lessons and use of that closet darkroom in Madison, Wisconsin.  Many thanks also to Bruce Barnbaum and Don Kirby for their instruction, critiquing, and assistance over the years.
 
Most of all I want to thank my good friend Mark Griffith.  Without your assistance, encouragement, and most importantly friendship over these many years nothing depicted within would have been possible.
 
And as for the Argus C-3 that I started with all those years ago, I’m happy to report it now lives in my camera collection-albeit with a broken shutter.
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