California's scrub Mediterranean landscape has enchanted the imagination of Steve Borelli since childhood. He captures the still and tender moments that nature has to offer, with a role. Often times, Steve chooses natural scenes with simple man made elements such as roads or fences. He states, "Certain man made Landmarks give the natural world character or scenic tonal qualities like a perfectly tuned instrument." He waits for unusual sunlight. Dark rain clouds steer his mood, always following their shadows on the land. He then chooses scenes to be glorified as he sees and feels them.









"Within us all is an upwelling of spiritual influence--it encourages us to reach deeply within us and to be in the presence of our original self--uninfluenced by the changing world around us all. But work, commuting, bills, and factors that push us to our tolerance level work to eviscerate the natural roadmap to our inner self. The purpose of my images is to take the person by the hand and gently walk them past the obstacles to a place of calmness and peace. We know the answer--but sometimes we need help taking the first step."


Born in Hollister, California between the gentle precipices of Fremont's Peak and Santa Ana Peak--the young artist set-out to unearth the mysteries of mountains and ecosystems; the journey continues. Having earned a B.S. in Physical Geography and Imaging, Steve credits his formal training in land forms as the cataclysmic skill-set he has used to form an organic bridge between land and imaging.

Gicl'ee, (pronounced "zhee-clay") translated in French as, "fine spray", is an advanced ink jet technique that delivers supreme quality by placing millions of droplets of ink on to paper--on a scale of quality not found with traditional ink jet. Renowned for creating prints that last 100 years, Gicl'ee's use of Pigmented Ink and Archival acid free paper is the discriminating preference of customers who want complete assurance their pictures will endure without fading for their future generations to enjoy.


"My current focus in photography is creating landscape prints, those of which resemble what I have seen in the field. Imposing false color to impress a larger audience has never been me. It's not in my soul. I use Adobe Photoshop to balance out highs and lows similar to that of an equalizer for music. Whether an image is captured digitally or by film, it goes through several processes before it becomes finalized on paper. Camera, scanner, image editing software, printer software all could skew original color or tone further away from the original.

Instruments have never been able to capture true color, especially shadowed greens. Hindered color and the processes available were the reason Ansel Adams never concentrated on color photography but B/W. He realized color was never captured as being true. I'm sure if he were alive today and shooting, he would be a lot happier with imaging control, and color values. Adams and earlier masters of photography such as Alfred Stieglitz, 1864-1946, both used manipulation. Everything's manipulated in visual arts or it would be called a leaf, a rock, or a tortoise shell. 

I often choose landscapes that are not yet in commercials or textbooks, emphasizing the rural soul of California. I seek to glorify the places and elements, which are not sought in high numbers. Many popular places have already been creatively captured. Being a fellow musician, it’s sort of like being asked to play “Louie Louie”. Why? It’s been done and by the original artist. I play my own songs and I capture my own scenes, my way."