I work to capture the mysteries inherent in all landscapes. My camera seeks out the quirky undertones: I look for subjects that are less guarded, closer to nature, and still agreeable to the idea of magic.
I am inspired by large format photography and 19th Century processes in the work of Eugene Atget, Eduoard Baldus, and Charles Marville. I use Platinum/Palladium as it evokes depth and warmth for me, more so than with silver gelatin process. Initially, I gravitated towards silver chloride Printing-Out Papers such as AZO and POP. I had camera-maker R.H. Phillips construct a large format camera which remains my primary camera to this day.
I have worked with renowned California photographer Robert Dawson; our collaboration provided the groundwork for my lifelong involvement with traditional and alternative processes with a view towards documentary projects. With Dawson, I was part of a group who documented Mono Lake, then under threat by the Los Angeles Power Authority: the lake was later protected by the Supreme Court based on public outcry following our exhibit. Thus I learned the power of documentary fine art photography.
I am drawn toward the paradoxical relationships between indigenous peoples and European settlers as reflected in the lands where they lived and died, and where their presence still abides. I am mindful of the poignancy of absences, and the raw sophistication in the geometries of the built environment. The ghosts of complex histories and uncertain futures wander through my frames.
My work can be found in private collections in Europe, North America, South America and Russia.
