Selected prints from my portfolio and other images are available in a variety of sizes, on lustre paper or canvas, framed or unframed. Please visit my online print shop to view available prints. If you would like a print that is not shown there, please let me know and I will make it available for you. Thank you.

Plate 7

Artist's Statement

My interest while working in the medium of photography is ultimately less in the subject itself than in how it will look when photographed.

I am trying to become more emphatically reticent in my photographs. I want a certain reticence that allows a thing to speak for itself. If I leave a thing seeming like it doesn't have enough meaning, I can allow it more room to be there, to have presence--and that takes learning how to keep the photographer out of the picture as much as possible.

I am becoming increasingly interested in a cataloguing approach. In some of my recent series, I have been trying to work with the methodology of the catalog, exploring variations within a group of similar objects or places. There is something basically appealing for me about variations on a theme. Photography is a great medium for cataloguing because you can gather information endlessly. For example, I might drive all around Baltimore and see all kinds of trees and how they sit in their city environment, or I might see a fascinating array of kinds of garage doors. But I couldn't have the experience of seeing them all together except in a series of photographs.

Is this a kind of documentary photography? I would like it not to be so. I'm more interested in creating an experience than in summarizing experience.

My definition of documentary work is photography that makes the information the most important part of the work. In my work, the information is the least important part. It's there--for example, I even use specific street addresses and location names in some series, such as the Intersections series. And in some cases, as with the intersection photos, maybe the work wouldn't mean the same thing without it. But it isn't structured around the information. The most interesting part to me is the visual play: how many different kinds of things can I put together, how these things look when I turn them into prints or scans. The most important part is looking at all these small universes of representation that I can create from the world.

Making an artist's statement like this is a lot of fun. It's part of the thinking part of photography. For me, photography is 90 percent mental. I approach it intellectually. I look for form, absurdity, synchronicity, and everything I've mentioned above about cataloguing the world. Emotion is way down the list. I realize it's a limitation but that's my composition. For me, a rough guess at photography's ingredients would be 90% mental, 38% form and composition, 9% random chance, 8% emotion, and 1% photos that actually work out.

I realize those percentages don't add up to 100 but that's what works for me.


The photographer uses various film cameras: Pentax Spotmatics, a Nikon FT3 (with Nikkor and Vivitar lenses), a Mamiya 645, a Yashica Mat 124G, and a few toy cameras, including a Holga 120N, a 1960s-vintage Diana, and Lomography's Diana F+.

He processes all film (35mm and 120, mostly Kodak Tri-X and Ilford HP5) by hand to archival standards. Standard choice of developer is Kodak D-76 diluted 1 to 1.

He scans negatives and also makes prints in his darkroom on Ilford Multgrade Fibre-Based Matte Finish paper. Chemicals in the darkroom are mainly Ilford Multigrade developer and Ilford Rapid Fix. He uses a Beseler 123C enlarger.


Was born around the time the FCC suggested moving VHF television stations already on the air to the UHF band, with Commissioner Robert E. Lee saying, "It's one thing to tell people they can't have something, it's another thing to take away something they have."

He began his studies of photography while earning a bachelor's degree in journalism and mass communication from the University of Iowa, where he also minored in English and spent considerable time in the School of Art and Art History, especially in the library.

Currently living and working in Baltimore.

Plate 5