To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy.
— Henri Cartier-Bresson
One World. Many Lenses.℠
I believe that the earth is a single homeland for all of humanity, and that the diversity of the human race is a cause for celebration, not conflict. That diversity is not only expressed in different nationalities, ethnicities, cultures and languages, but also in different world views and perspectives. Everyone perceives the world through their own “lens”. In the same way, the photographer captures not what is objectively there, but rather what the camera lens perceives. Digital editing—or as the case may be, a specific film stock—can further lend a specific mood or character to the image, reflecting the photographer’s personal impression of the scene. As Ansel Adams said, “You don’t take a photograph, you make it.”
“A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed, and is, thereby, a true manifestation of what one feels about life in its entirety. This visual expression of feeling should be set forth in terms of a simple devotion to the medium. It should be a statement of the greatest clarity and perfection possible under the conditions of its creation and production.” — Ansel Adams
My focus is on fine art photography, including documentary and landscape photography. I eschew the term street photography because no two people seem to agree on what that means. If you ask me what it is that I take photos of, probably the best answer is the one given by one of my favorite photographers, William Eggleston: "Life today." Another specific branch of fine art photography that I'm currently working to develop is authentic portraiture.
In addition to photography for the sake of art, I also do commissioned work, and I especially enjoy event photography. I love to go into a place where things are happening, to flit in and out of crowds—sometimes noticed, mostly unnoticed—and capture not just the main event but also how individuals respond to it and to each other. I’m fond of candid shots, but I’m just as comfortable asking someone to pose. I’m fascinated by the expressions on people’s faces as they watch, listen, laugh or dance to a performance; as they celebrate a milestone, learn a new skill, work together, geek out together, or participate in a shared project. My sincere interest in people of all backgrounds engaged in activity of all kinds is reflected in my photography, in the way that I honor both the individual and the collective.
While most of my photos are digital, I shoot film as well—both are equally valid, and I hope film never goes away because it has a look that cannot be precisely duplicated in the digital domain. Not that I don't try; you can see my love for film even in my digital work, which makes liberal use of film simulations, either in-camera or in post production.
I've been building up a large portfolio of works, many of which are available for purchase as prints. For more information and a sampling of my work, visit my galleries.
About my gear
Photography “gear”—meaning camera bodies, lenses, filters, lighting and related accessories—is important only in the sense that it supports the photographer’s creative vision and process. Street and landscape photography are not particularly demanding in this respect; even the most basic smartphone today is superior in many ways to the film cameras used by the masters of yore. Let’s face it, brands, models and even megapixels do not matter all that much in “environmental” photography. However, when doing paid work, whether it be a family portrait or covering a large event, having the right equipment for the job is crucial. And since some people just like to know how certain images were created, I’ll give a brief overview of what I use.
Most of my work prior to 2020 was done on a Nikon D7200 DSLR. However, in late 2019 I began moving to the Fuji X mirrorless system. I find that Fuji cameras provide a more intuitive, immersive shooting experience than other brands of digital camera. Especially the “pro” models, with their dedicated ISO and shutter speed dials and an aperture ring on the lens, are truly a “photographer’s camera”. Rarely do I need to dive into a menu setting during a shoot, and with Fuji’s beautiful film simulations (augmented by film “recipes” such as are found on the excellent Fuji X Weekly blog), it’s the closest thing to shooting on actual film—with all the conveniences of digital and the dynamic range of a high resolution X-Trans sensor. A few of my images were taken with the tiny RICOH GR II, an older but very capable fixed focal length shooter that’s especially well suited for street and landscape photography. My latest acquisition, the Fujifilm X-T5, adds higher resolution and uncanny AI autofocus capabilities, as well as an even wider array of film simulations. And yes, I am completely unapologetic about shooting APS-C ('“crop”) sensors; the idea that “full-frame” is equivalent to “pro” is completely outdated and relegated to the realm of mythology. I’m willing to die on that hill and I can cite you the reasons why (I told you photographers are opinionated, didn’t I?). And if I ever feel the need for more resolution or dynamic range, I will look to Fuji’s GFX near-medium format series, which blows full-frame away.
Over the past couple of years, egged on by a photographer friend, I have also been getting more and more into film photography, both 35mm and medium format. I currently own several film cameras of various styles and ages, as well as a wide variety of vintage prime lenses—some of which are pretty close to my age. I’ve also started to develop my own black & white film.
Finally, while I rarely use flash for any of my creative work, for assignments and session work I have an excellent portable lighting setup that includes remote off-camera flash, flash diffusers, softboxes, reflectors, umbrellas, V-Flats and the like. I’m especially proud of my indoor/outdoor event setup, which includes a SmartRig cage for my X-T5 with the speedlight and softbox mounted off-center.
If you would like more information about my gear and how & why I use it, or are interested in hiring me for an assignment, feel free to contact me.
About the Certified Professional Photographer designation
Certifications don’t tell the whole story about someone’s skill—there are countless highly capable, yet uncertified professionals in every field, and not everyone who is certified is qualified in every situation. Yet certifications do provide some assurance that someone can do a certain job and do it well.
I recently earned the Professional Photographers of America’s Certified Professional Photographer (CPP) designation, after completing an intensive program that measures my artistic and technical competence. The primary reason I sought this out is to challenge myself to become a better photographer. And just as other professionals seek certification in their respective industries, I want to give my potential clients that measure of confidence that they are hiring a qualified and capable photographer.
Professional Photographers of America (PPA.com) is the leading body for certifying imaging professionals. CPPs must complete a written examination, finish an image evaluation and adhere to a strict code of conduct. Certification must be renewed on a periodic basis, ensuring continued confidence in the professionalism of Certified Professional Photographers.
Professional Photographers of America currently recognizes fewer than 2,500 CPPs. I am honored to be counted among this prestigious group of professionals.