This page will contain some notes about my photographic process and intentions.

A photograph can be an inspiration to go out and look more closely at our world; it can show us what we might see with our own eyes.  A photograph can serve as evidence of available beauty, or available ugliness, or simply available experience.  Of course, not every photograph functions as a piece of evidence.  Some photographs gain their power by presenting a radically altered or distorted view of the world, as we would never see it would our bare eyes, thereby asking us to think of the world differently.  As a viewer, I appreciate both kinds of image, but as a photographer I am heavily biased towards the first.  I seek to capture the wonder of the everyday world, as it is available for all of us to see.  For this reason, I’m conservative in many aspects of my process.  I try to keep my decisions concentrated around two points in time: the moment when I click the trigger, and the period when I review the results and decide what to keep.  I shoot in a square format and don’t crop my work.  I don’t do any digital editing or touch-up.  (This is a loaded issue, because of course there are  unavoidable transformations that happens behind the scenes in the camera, in the software that I use review and print my work, and in the printer itself — the point is that I take a “hands off” approach to this part of the process, and I try to manipulate the digital artifact as little as possible.)  I use the sun as my light source (no flash or other artificial light).  I don’t use props.  I don’t touch, reposition, or otherwise set-up anything that’s going to be in the image.  I use prime (fixed focal length) lenses and zoom with my feet.  I try to look at what I’m photographing with my bare eye before examining it through the camera viewfinder.  And, for a different set of reasons, I don’t photograph people.

Here’s a snapshot of me in action:

Here are some snapshots of me framing my work at Brookline Framer’s Worksop: