I have had two career loves: the science of Entomology and Photography. Now the science has given way to full time photography. I am largely self-taught but have benefited from many discussions with other artists, and I have taken a few workshops. The most rewarding workshop was with Tim Rudman from England. Tim tamed and explained the lith printing process.
I have always been interested in black and white landscape and experimented with many films and processes. Lith is a marvelous printing technique. It can be used to produce images that are somewhat antique and painterly and best expresses my vision. It does not work for everything so I continue to use more traditional darkroom techniques as well. My primary cameras are medium format (Holga and Hasselblad), and 35 mm (regular and half frame).
I prefer making images that make time ambiguous and have very simple composition. I let the viewer decide whether the image was made in the 19th, 20th, or 21st century. Presentation has always been important to me. I shy away from traditional framing (but am often forced to use it) and have presented work in an old tin box, hand made books, and series on individual wood panels.
The photographers that admire most and that have had a great influence on me include Yammamoto Masao, Tim Rudman, Michael Kenna, and Laura Gilpin. They, and others, have freed my mind to explore and experiment. Yammamoto Masao has affirmed my belief that a photograph can be considered an object, it can be handled and admired. A “book” of photographs may be of standard form, folded like an accordion, rolled up in a scroll, or loosely contained in an old box. From Tim Rudman I honed my skills with lith printing; Michael Kenna (and others) showed the importance of simplicity; Laura Gilpin to try things that you are not supposed to be able to do.
My dear friends and colleagues Sharon Shoemaker, John Holmgren and Susan Huber opened my mind to think outside the box and to look with the eyes of others.