I've been a serious photographer for over 16 years, "going pro" in 2004 when I graduated from the Photographic Center Northwest Fine Art Photography program, which was in itself a return to the training I had begun when I did my B.A. in Art/Art History at Willamette University many years ealier. I've been interested in computers, and their capabilities, almost as long.  I've been doing digital art since 2000, and began working in mixed media again, after a very long hiatus, in 2005.

I live in the Seattle area with my family.

I am available for commissions (personal and commercial) including book covers, album design, fantasy portraits, product and fashion photography, retouching & restoration services, and image licensing (directly or though my stock agencies: Alamy, PhotoShelter Collection, and MyLoupe)

Fantasy Portraits, from your photo or mine, start at $95.

For studio family portraiture, I can be booked through Janet Klinger Photography; check the "Associates" section of her website for more details and sample portfolio.

Contact me via
e-mail:    jane @ JEPphoto.com
phone:    206-992-8213
mail:       12345 Lake City Way NE #369, Seattle, WA 98125

If an image in the galleries does not have the "add to cart" button, that doesn't mean it isn't for sale (unless it says "SOLD" on it) -- e-mail me for details.

Photographically, I use a lot of different tools, from my trusty old Pentax 35mm, to Holgas and a Koni-Omega Rapid, to my digital Canon or Pentax SLRs. My favorite films are Ilford Pan F and Fujichrome 100, but I'll shoot whatever I need to get the job done.
At this point I'm printing entirely digitally (except for cyanotypes), from film scans if necessary. Not only is there more control over the output (espcially in consistency, and in dodging/burning fiddly bits that would take hours in the darkroom) but my physical print options are more archival than almost anything I can do in the chemical darkroom.  
Most art prints are done in my studio, on an Epson 2200 with the Ultrachrome ink set. For some images, I work with a professional lab to create Kodak Endura or Fuji Crystal Archive photoprints, based on what I feel will work best for the image.

A note on terminology: I tend to call something a photograph if I didn't do anything to it I couldn't do easily in the darkroom, and a photomontage if it isn't something I could do in the darkroom. (Admittedly, Jerry Uelsmann makes amazing photomontages in the darkroom, but if I'm going to spend that much time with complex masking and multiple negatives, I'm doing it on the computer!)   I'm still making cyanotypes the old fashioned way, and doing some hand-toning on photoprints.

Digitally, my primary tool is Photoshop CS3, with help from Vue Esprit. I am a member of the National Association of Photoshop Professionals.

On the "Mixed-Media" front, there are a lot of options -- that's why it's called mixed media! I work most with acrylics, encaustics, gouache and collage. Encaustic media is beeswax tempered with a hardening agent -- I use damar resin, in different ratios for painting or casting, and add color with pigment. The damar resin also has the nice property of raising the melting point of the wax to 150 degrees, so no worries about melting off the wall on a hot summer day (please don't put them in your car trunk on a hot summer day, though.) Encaustic painting has been practiced as far back as the 5th century BCE, and is one of the most archival of all art forms.  In the modern era, it was repopularized by artists like Jasper Johns.