After convincing a police officer that he wasn’t stealing, buelteman took this branch of eucalyptus from a country club. the image (“Eucalyptus polyanthemos,” 2000) was created using small, selective pulses of light via a fiber-optic probe. the discharges show up as blue where the stems are close to the film and plate, and where the plant is farther away, the image blurs.
Entry Into Photography: “A friend owed me $100 and offered me his camera instead. looking through the viewfinder was my first authentic spiritual experience.”
Published: Thirteen portfolios of black-and-white landscapes; monographs: A Vision of Life (1988), The Unseen Peninsula (1994), Eighteen Days in June (2000).
Cameraless imaging portfolios: Through the Green Fuse (1999), Sangre de Cristo (2006), Rancho Corral de Tierra (2006); catalog: Signs of Life (2009)
Honors: Artist in residence at Santa Fe institute, 2003-2006 Favorite Quote: “When you take a flower in your hand and really look at it, it’s your world for the moment. i want to give that world to someone else.” — Georgia O’Keeffe
Website: buelteman.com
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In The Bag
- Buelteman’s “bag” these days is more likely to contain pruners than a camera, to collect plants to take into the studio
- Buelteman’s work is strictly studio, so he no longer totes a camera bag to locations. in his workshop, which is converted from a five-car garage, he relies on surgical scalpels to get the form and opacity he wants in petals and foliage prior to manipulating them on the imaging easel. • Another necessary piece of equipment is a wooden safety fence around the easel — with its big electricity-conducting metal plate — to forestall future electrocution accidents. Hanging on the wall: a neck brace as a reminder of buelteman’s previous face-off with 40,000 volts.
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