Min Enghauser

I began making photographs as a child; exploring, learning and becoming aware through photography. For me, photographs, and the act of making them, are glimpses of timeless Spirits and of the pure and unbiased realities of nature.

The eye of the camera, unlike eye of the viewer does not look at life subjectively, no judgment is passed, no value placed, no claim staked. In that it is the most like the Mind’s eye. When I photograph I try to detach. I don’t question the attraction I have to a subject – it’s an attraction so it’s primal. I expose the film and move on, not interfering, not questioning, not staking a claim. It is in the printmaking part of the process when the photographs become mine and to what I was reacting becomes clear and what is to be revealed is, if only to me. I tweak and fuss the image until the sense of light, the tones and textures elicit familiar feelings, primal attractions, a sense of Spirit of place. And I delight in that something that is unanticipated, that something that I thought could not be seen. In making the photographs mine they become my teachers. And they impart an orderly quietness of symmetry in which Spirit reveals itself. Although a long and loyal maven of the traditional wet darkroom, the new technological advancements in photography and digital printing offer me a way of rendering to paper what I see as the inherent beauty of photographic film. My photographs are made on film, scanned into the computer and then interpreted using the timeless sensibilities of the traditional fine art photographic print maker.

In 1992, I received a Bachelors of Fine Art in photography from Shepherd College in Shepherdstown, West Virginia. I was juried into the renowned Torpedo Factory Art Center in Alexandria, Virginia in 2006 where I can be found in Studio 309. In addition to fine art pursuits, I also work with other photographers to bring their images into the digital realm with high quality scanning, retouching, printing, instruction and consultation.

My “Tychs” are not paintings, clearly, I borrow the terminology. The multi-image pieces from back in the day were typically alter and church pieces with religious and spiritual significance, Mine are about unveiling the Spirit of the landscape and it’s messages and messengers.

Multi-image pieces are something I’ve done on and off since the onset of creativity symptoms. The desire to put the pieces together, if you will, continues to resurface. For the last few years, it has done so with force. I’m still trying to figure out the allure of placing images side by side, end on end. I think it has something to do with defining those single things that carry through, a form or an idea, that jumps from one frame to the next, threading it all together, if just for a moment.

It isn’t all about concept or perception, it’s also about tools and materials. I have been shooting film for 30 years. The sincerity of film is something that has become an integral part of my process. I don’t wish to fool or distort, enhance or mimic, I wish to record, interpret and reveal. Traditional photographic films are sincere, organic and tangible, just like the land itself, that is resonance.


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