ARTIST STATEMENT
My work is about slowing down and noticing beauty in the world, especially that which is in danger of being lost or taken for granted. My work is less about a subject and more about a way of seeing that subject, less about a landscape and more about a feeling of being in that landscape. I photograph ordinary things like fallen leaves, winter skies, or rusted rail cars because I believe that everything has a story to tell, if only we stop and listen. I create dynamic landscapes that try to pull you into the image, that try to re-create the essential human experience of being in awe of and in rhythm with the heartbeat of the natural landscape- a fading heartbeat that we must preserve, if not for the planet, then for the soul. Most of all, I want my work to remind you to leave the desk, turn off the television, open a window, and smile at the warm gift of sunlight on your face. For those who appreciate that kind of everyday wonder in the world will surely conserve it for their children.
The message of my work also applies to its creation: I only make 25-30 photographs a year. For every exposure I make, I spend many more days in the field just observing, waiting for that rare moment when season, time, and weather add up to just the right light: when a stone wall dances with color, or a flower opens to the sun. I rely on creative vision, mastery of traditional technique, patience, and luck; not special filters, digital effects, or process gimmicks.
Amateurs always ask about equipment. My advice is simple: Slow down. Forget about the latest gadgets. Focus on art, not technology: study the elements of design. Spend your money on film, paper, and practice, not a fancy camera. And finally, develop your own style and vision. For those who must know, I use basic 4x5 format cameras- simple boxes without electronics. These cameras are much larger, slower, and more difficult to operate than 35mm cameras, requiring hand calculation and adjustment of all parameters prior to exposure, but give me complete hands-on control. I currently print primarily on Fuji’s crystal archive papers processed in RA-4 chemistry. I mat all images with cotton rag museum boards. As demand for my work has grown, I employ up to 2 assistants to help with the non-creative aspects of my business. While the world of photography is changing, I believe my process still produces the finest, longest lasting prints possible. My goal will always be the same: to inspire people to slow down and appreciate the world around them.
