This page was created as support for hanging exhibits, but right now -- winter '17 -- I've taken down the fall show. I have some prints in some galleries.
My approach in some ways is a steady arc, going back to 1980. My core concerns are the same: I look for a resonance, something that we respond to as humans, even if the subject matter isn't a person or a domestic or urban situation. Maybe more so in those cases; I want to go deep and not be distracted by surface concerns.
Of course, there is no mystical connection between the objects in front of the camera and the human inner realm -- or at least none that I can formularize. I also can't can't distill the use of form, tone, texture, and color into a resonant formula, but those are all I have to work with in the end. Something is in front of the camera, but I have to make that work as something on paper. Then I want that paper to not just sit there or merely remind us there was once something in front of a lens. I want that paper to work us, to transform us, to crack our heart like a nut or coax it out of its shell.
My photography has evolved constantly since I started working seriously with a view camera in 1980. Of course we develop based on the tools we are working with, and I'm grateful for all the transformative periods with different forms of equipment over these 30 years. Most recently I'm falling in love with the subtle characters of the best vintage old lenses. "Magic" would be the wrong work, since it's engineering and craftsmanship of the best past and current materials engineers and optical designers. But when someone does something supremely well, it seems to transcend mere normal physics. That jump is what I aspire to in my photography.