Larry Koltys Photography | Biography

BIOGRAPHY

Larry began his exposure to photography while helping out with photo shoots at his father’s advertising agency. His hobby became a passion. He earned a Bachelor of Science degree in Professional Photography from the Rochester Institute of Technology in Rochester, NY. Upon his graduation he became a studio photographer at his father’s agency and expanded his experience further by working at Ford Motor Company’s world headquarters as a still photographer. He also has experience in the printing industry by working with several large high-end printers.

He recently returned with his wife, from spending over 6 ½ years in the Middle East. During that time he worked, as a photographer, for several U.S. universities who had campuses there. He was extremely fortunate enough to travel and explore many exiting and exotic places. He enjoyed the opportunity to photograph the landscapes and inhabitants of these incredible places. He has assembled a collection of his most memorable encounters. By design, through his unique post processing and printing technique, he adds a watercolor painting like feel. His incorporation of highlights, shadows and vivid colors contribute to this ‘as you were there’ sensation.  He also includes several HDR (High Dynamic Range) images where multiple exposures are compressed into one can create a surrealistic result or with tonal ranges which only the human eye can decipher.

His hope is to immerse you into the image so you can actually imagine being there at that exact place and time.

 

STATEMENT 

I have always thought of photography as a modern day alternative of painting. Two key ingredients of painting, whether it is oil, watercolor or acrylic is light (highlights and shadows) and texture (brush strokes, pallet knives or the canvas itself). I like to apply these two principals when ever possible. When composing, I am looking at a blank canvas. I then begin to get a feel for what I wish to accent in the highlights or shadows, in the rough or smooth texture that I visualize. It is my hope that once I assemble these components I can enable the viewer to actually experience what and where I am. To almost be able to rub their hand  over the rough barn wood, or smooth rock. To shade their eyes because the sun is so brilliant or let them adjust to the darkness of the dark cavern.

I used to spend many hours (and lots of photographic paper) in the darkroom to get just the exact tonal qualities in a print I was looking for. Today it's digital and software. I liked the old way better but it is what it is. Suffice it to say, I still enjoy the post process aspect of the completed work. I have established a technique that still maintains the reality and true representation of the subject (unless it's crazy HDR stuff), but at the same time gives a feeling that maybe this was helped along with a tiny brush stroke or two. This is by design and it's my way to add my signature to the painting I have just completed (even though we call it photography)!