"The Cutty Sark" — Scene from Above…
I’ve been fascinated by the way that shapes come together and explode apart in a viewfinder, since I first picked up a camera when I was 11. By the time I was 13, I was calling myself a photographer, yet I never worked on yearbook or the school paper or any of the “normal” paths to careers in photojournalism. I always been absorbed in the images of my environment and my personal life.  I never thought of “going places” to take pictures; I was just making pictures where I was.
Because film & paper photography was expensive, I established a rule at a very young age, that I would never turn down a job that paid to put film in my camera, unless I had a more interesting photography job.  That practice took me out of my Proustian cocoon and led me to subjects that I would never have imagined. Because of that rubric, I have been exposed to an array of technical, journalistic and artistic challenges, but at the end of the day it comes down to the fascination with color, shapes and events coming together into arrangements that are somehow appropriate to themselves, before exploding apart.  Whether it is cars on a freeway or highlights in a portrait subject’s eyes, it’s always attempting to snap the shutter when the image snaps.
Being in the air, takes us out of an eye-level relationship with elements, to a bird’s-eye level which, as Hitchcock showed us, can simplify tremendous complexities into basis shapes, which contextualize our narrow gauge preoccupations.  This was one of those epiphanies, for me.

"The Cutty Sark" — Scene from Above…

I’ve been fascinated by the way that shapes come together and explode apart in a viewfinder, since I first picked up a camera when I was 11. By the time I was 13, I was calling myself a photographer, yet I never worked on yearbook or the school paper or any of the “normal” paths to careers in photojournalism. I always been absorbed in the images of my environment and my personal life.  I never thought of “going places” to take pictures; I was just making pictures where I was.

Because film & paper photography was expensive, I established a rule at a very young age, that I would never turn down a job that paid to put film in my camera, unless I had a more interesting photography job.  That practice took me out of my Proustian cocoon and led me to subjects that I would never have imagined. Because of that rubric, I have been exposed to an array of technical, journalistic and artistic challenges, but at the end of the day it comes down to the fascination with color, shapes and events coming together into arrangements that are somehow appropriate to themselves, before exploding apart.  Whether it is cars on a freeway or highlights in a portrait subject’s eyes, it’s always attempting to snap the shutter when the image snaps.

Being in the air, takes us out of an eye-level relationship with elements, to a bird’s-eye level which, as Hitchcock showed us, can simplify tremendous complexities into basis shapes, which contextualize our narrow gauge preoccupations.  This was one of those epiphanies, for me.

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