I’m attracted to long exposure photography because I don’t know exactly what will happen. It’s an exercise in intuition. Just like with my ceramic work, I research and experiment and practice, then seek a balance of knowledge and wonder. For me to be interested, the work must be at least 25% experimental, with the other 75% simply acting as support. If I know exactly what something in the kiln is going to look like, than I don’t care to look.
