I am a road photographer. I encounter most of my subjects from the roadside while walking, biking or slowly driving in my roadster.  I enjoy the vistas of the landscape, whether it is the wilderness, the water, a rural farm or an urban streetscape. I am interested in how those landscapes are visually interrupted by people, their structures, or the changing light of the sky. Photography allows me to arrange these interruptions in a visually interesting manner not obvious to the casual observer who often observes them in a fast moving automobile. I, like many other fine art photographers, also believe that  large-scale is an important element in the aesthetic experience of the viewer. Because of the high resolution, most of my images are best seen at five and eight foot widths.  I try to capture the beauty contained in the proportions, rhythms, and color of these scenes. Because of my interest in formal landscape painting, I am delighted when my photographs are often confused with watercolor painting.

I am indebted to my visual mentors, including the painters Harold Gregor, Roger Brown, Ian Hornak, James Winn and Steven Kozar, and the photographers Aaron Siskind and Maxwell MacKenzie. In particular I want to recognize Max McKenzie who first opened my eyes to the importance of scale in photography and the subject potential of farm buildings. My work would not have happened without the influence of the late photographer Jean Moss-Weintraub. A reknown commercial photographer, she believed in the drama of large scale format  for my images . She also introduced me to Jon Scott, of J.S. Graphics, who scans and prints my visions into realities.

Paul Lurie