About the Artist

Artist's Statement

My goal is to create and introduce people to fine art photography through works that depict and emphasis the wonderment and majesty of the world around us. A fine art photograph is one that emotes or gives voice to a sensory response and provides the viewer with a thought, or a feeling, that was not previously inchoate; it is made to the highest professional standards and archivally constructed. 

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I earned a degree in Mechanical Engineering from the University of Maryland in 1984 and have had a long and rewarding career with the Department of the Army.  My interest in photography grew out of a fascination with intricate mechanical devices but it was not until later in life, when time and patience provided the necessary incubation, that a more thoughtful approach to photography nurtured a passion into what is now a life’s work.  I am self-taught, so my approach can at times be undisciplined, relying often on instinct at the expense of traditional rules.  Ultimately though art is a search - a search for the right light, the right angle, the right f-stop - manifested from the artist’s conceptual vision and aimed at producing an emotional response from a prospective viewer. 

While my photography started with documenting the lives of my children, as they grew – and invariably no longer cared for their picture being taken – I turned my lens on my surroundings.  At first it was the nuances of life, a scattered clutter of objects with little rhyme or reason; a potential abstraction or just an intriguing moment.  Then came landscapes and the emergence of a more complete and expansive vision. 

I had a darkroom when my children were born but that soon fell by the wayside with the demands of parenting and full time work there was no more opportunity for 8-hour darkroom sessions.  A second chance at following an artistic road came with career success, a Hasselblad and a new darkroom in 2002.  I explored large format but felt urgency in my work that required immediate feedback and realization – something not easily afforded by upside down renderings on a ground glass.

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 A life-long admirer of Ansel Adams, I apply a mastery of photographic technique to creating an artistic vision of natural surroundings.  Adams’ manipulation of the negative (his “score”) is accomplished today with a much-advanced set of instruments although the end result remains the same – striving for performance and an artistic end that goes beyond the initial capture.  My process is to utilize the modern darkroom to create fine art black and white photographs – not mere technical captures but manipulations of raw data to produce a piece that invokes a personal sense of accomplishment and conveys my artistic vision.  This process requires many techniques, some applied directly through the camera equipment – tilt/shift lens, panning ball heads – some computerized – detailed dodging and burning and intricate black and white conversions – to the archival construction of the final end product – the pigment print.

I seek to represent what is initially in my mind’s eye, sometimes it is grandeur, often ephemeral, occasionally enviable but it is always meant to provide another option, an un-singular vision, engineered to be moving, atypical, but true to what was felt as well as what was seen.

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