I received my first 35mm camera in 1975 at the age of 13 and quickly realized the power and privilege one has when viewing the world through a lens. Fifty years later, I find that I am still captivated by the complex and voyeuristic nature of photography. My approach to photography is rooted in the ability to not only capture but also manipulate images. I am drawn to scenes of people on the street responding to my presence, to documenting unique environments, and to employing darkroom techniques that challenge how we perceive the natural world. It is the merging of a deep curiosity and a drive for creative image-making that defines the foundation of my artistic practice.

I draw inspiration from photographers who have found the extraordinary within the ordinary, such as Lee Friedlander, Minor White, Sigmar Polke, and Erica Baum. In addition, the work of abstract expressionist painters has had a significant impact on me, particularly their dedication to empirical observation and pure, unfiltered experiences. These influences have shaped my perspective and continue to inform my creative process.

My recent and ongoing work has led me to inhabit two distinct worlds. In the project “Altered Perceptions,” I immerse myself in the natural world, seeking environments that offer profound and elemental experiences. Using medium and large format cameras, I capture these scenes and then alter them in the darkroom with masking films and creative printing methods. These manipulations invite viewers to carefully consider the black-and-white images and to ask themselves, “What exactly am I seeing?” This question is the initial first step toward a deeper, more meaningful aesthetic experience.

At the same time, I employ my digital camera to photograph pedestrians in major cities. My ongoing project, "Frames of Reference," explores the social dynamics of urban street life and how individuals react to unexpected encounters with the camera. By using a simple framing device, I create an artificial method for selecting subjects from the crowd, turning ordinary passersby into participants in my observation. This process allows me to examine faces, body language, unique behaviors, and the evident reactions of the people I photograph, revealing the voyeuristic pleasure inherent in street photography.

I rarely stop working on my portfolios. The curiosity that originally inspired me to pick up a camera remains ever-present. Ideas I have explored in the past continue to be relevant, and I am always searching for new ways to see and interpret the world around me.