My photographs are made on location and in the studio of various plants, water and objects. My work, influenced by my background as a painter, commercial photographer and designer, is enabled by decades of experience with technology.
At its core, my work is a two-step process— the photo shoot and the image editing. Both are as intuitive as they are technical.
The process relies principally on light and lens characteristics along with in-camera composition. During the edit I tug on image characteristics including color, luminescence and sharpness restoring what the camera fails to record.
The heart of each shoot centers on locating or building situations where the light is likely to take over and objects recede or disappear entirely.
The degree to which any object photographed may be recognizable is of no consequence. I do not intend to make pictures of objects. Rather, I intend to isolate light as objects affect it.
I often work close-up, the extremely narrow field of focus supporting ambiguity, denying the objects and promoting the light itself.
I work to suspend the viewer in the world’s spectacular uncertainty.