People constantly ask what I’m working on, with whom the latest photo projects are with, where I’ve traveled recently, and where I am going next. Generally I’m in such a visual whirlwind, I can barely recall the details myself. So this is my log:  a reminder for myself of what I’m doing, what I’m seeing, a spot where  I can share my latest images, and a board where I can post technical articles and other thoughts for discussion–after all, photography is the perfect mix of art and science and a high conversation point in my world.  Thanks for joining along.

I currently live in New York City where the contrasts in ways of life, people, and environment intrigue and excite me.  It’s a rich dynamic system.  Clients keep me on the road traveling most of the time and I find very little time to shoot at my studio in DUMBO.  Besides spending time in nature, photographing the architectural built environments, and plain old living, I am working on a very exciting personal project.  This project is about the interplay between fashion, structure, and environment, how they affect one another, how it influences our lives, and how in turn we reflect on its influence to create new styles.  This is why, though I specialize in architecture, I photograph fashion.

I started my career path at an early age, skipping Sunday School, to hang out with my dad as he worked in his color darkroom.  By the age of ten I was processing my own film and making prints.  Our family trips were never to Disneyland or Wonder World, but instead we car camped in Oregon’s Cascade Range, or road-tripped to the high-desert country of Eastern Oregon for birdwatching adventures.  In high school  I packed various 4×5 and 5×7 cameras up Mt Hood, nearby Columbia Rover Gorge, and the Oregon Coast.  During this time I earned the nickname “Techincal Pan Cam” for my use of Kodak’s technical pan film (ISO 12 with incredible resolution).  By sophomore year in high school I converted a spare bedroom to a photo studio and called it The Seen.  Here I made portraits for the yearbook using a Rollei 6008 for which I had taken a loan for, and some White Lightning studio strobes.  Through college I continued the studio work and eventually photographed my senior thesis project on the female nude as landscape.

In 1995 I graduated from Willamette University of Salem, OR and moved to Jackson Hole, WY.  Here I concentrated on landscape and wildlife photography, skiing whenever I could, and working a day job as an associate store manager for the Gap.  After a few small gallery shows I switched day jobs and became the Director of Development for the Art Association.  My charge was to run the year round art fairs for visiting artists and exhibitors.  After a major coup of relocating the summer art fair to the heart of downtown, I entered my first art fair selling fine-art prints.  This was very fun, but I still had ambitions in the commercial world.  It was during my tenure at the Art Association that I began photographing architecture for local architects and took small commercial product shoots.  Intermittent trips to Europe to photograph fashion and architecture kept me inspired.  Before long I was too busy with after hours lab work in my home darkroom to do much of anything fun outside of photography.  A photographic trip to Kenya and Tanzania in 1999  pushed me to the brink: I quit my day job and opened a commercial photography studio specializing in architecture, interior, and product photography.

In 2001 I began the initial phase out of my in house color lab for concerns of polluting water ways with photographic effluent.  I figured a bunch of people advised by Kodak that their small volume lab discharges weren’t enough to worry about, could actually add up to a long term problem for others sharing the same water system–particularly since I was at the source of fresh water for lots of the west coast.  Within a year, the other reliable commercial film processing labs in Jackson Hole stopped processing large format film and I was forced to FedEx my commercial film to other labs outside of Wyoming.  This prompted me to increase use of digital capture and by 2005 I was photographing nearly everything with my Canon 1Ds to avoid additional costs of shipping and scanning film.  Finally in 2006, realizing the Canon doesn’t match my needs for high resolution and color fidelity, I purchased a 39 megapixel Hasselblad CF39 digital back.  The CF39 could also be mounted to a view camera or technical camera for perspective control necessary in architecture photography.

In 2008 I breifly moved to New York City and returned full-time in 2010.  I maintain a small studio in Jackson Hole and now have a place in Brooklyn.