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an unmowed hay field, a speck of snow tucked away between the blades, has the same feel of flowing movement, the same texture as a woman’s wind blown hair.
A shot taken from the heights of the Shenandoah Park, an otherwise ordinary scene captured a hundred times by amateur shutterbugs armed with instamatics, is transformed into art by Kilby. He creates stark contrast by framing a single pine tree, survivor of a fire, in the foreground of the vista of farming valley and hillside forest.
In one of his most famous prints, accorded high praise by Washington, D.C., art reviewers, a view of the stars at night becomes a skyscape, mountains sillouetted on the horizon.
Creative Fine Art
His color work is difficult to describe. It creates emotions rather than ideas with the same punch delivered by the abstract artists who work in oils or acrylics.
“I studied color photography and I did some commercial work but I really disliked all the color that I had done. So I went back and studied color photography again. I studied art in all mediums. And I came to conclusions on what I felt, what I knew about color and decided I liked the abstract but not the realistic.”
His medium is unique, a combination of subject matter (bits of cellophane) and lighting that results in images more often found on canvas. “I don’t feel the technique is so important. But it is a fact that no one is using the technique I use. It is still a photographic way of looking at a scene, of composing. There’s no darkroom trickery at all. It’s just unusual subject matter,” Kilby said. “It’s fine art in the ere
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