I think I was born about one-hundred years late. Not because I dislike the comforts of modern living such as microwave popcorn or air-conditioning, but because I love the process involved with shooting black and white film, developing the film into a negative, and then using an alternative process to turn the negative into a photograph. In my eyes, images only become photographs when they are physical objects that you can touch and feel. I never concern myself with how fast a photograph is created, but with the subtle artistic influences that I add throughout the entire process. 

In the field, I often work with medium format film and a fifty-year old Mamiya Twin Lens Reflex camera that forces me to think before pressing the shutter button. In the studio, I prefer to use a 4x5 Large Format camera. These cameras force me to visualize the final image before I release the shutter, which is where my vision is realized.

My influences include Edward Weston, Edward Steichen, Paul Strand, Alfred Stieglitz, Imogen Cunningham, Dorthea Lange, Ansel Adams, and Walker Evans. Many of these photographers departed from the accepted mainstream to create art on their own terms. Even with these strong influences, my work is a reflection of me with its stark contrasts and concentration on form and textures. I continue to be restless creatively, striving to find and settle on one path for my work. However, the alternate paths that I follow allow me to grow technically and introduce me to new concepts that are incorporated into my core black and white work.