Into the Field, Western Art & Architecture, December 2017 / January 2018
"Eric Overton uses more or less the same photographic equipment and techniques as mid-19th-century photographers who captured images of wild, remote regions of the West. The wet-plate process involves an enormous field camera on a tripod, chemicals and large plates of glass. The main difference: Early photographers hauled their heavy camera and developing equipment, along with food, clothing, gallons of water and canvas tents that served as portable darkrooms, on the backs of mules. Overton carries his in a Toyota pickup truck with a camper shell. Plus, unlike back then, he has excellent maps."
Wild America: Process & Preservation, Lenswork, issue #130 May-June 2017
"My approach to the American landscape did not initially involve a specific environmental agenda. Nor did I attempt to recreate iconic photographs or capture locations in a novel way. Land preservation was not a well defined goal. I simply aimed to experience these places anew; to exist in space and allow myself to experience the natural world. Furthermore, it was an idealized pursuit to slow the photographic process in some of the world’s most beautiful spaces. An effort to connect myself to the physical world through the land itself and through an anachronistic photographic process."
Big Nature: Eric Overton's Photographs of National Parks, Salt Lake Magazine, May 2017
By Susan Lacke
"As a child growing up in the Mount Olympus Cove neighborhood of Millcreek, Eric Overton spent his days in the abundance of nature in his backyard—the slopes of of the Wasatch Range. But as childhood turned to adolescence and then college and career, the demands of the real world overtook the lure of the natural world.