You are signed out
Sign in to connect with your favorite photographers, models and brands
I took my first photo at age fourteen with a Kodak Brownie Starmite II camera from a BOAC passenger jet over Scotland — that image appears in this collection. More photos followed in London, Paris, Brussels, and Athens, many of which I still have.
Later, while in the Navy, I purchased a Kodak Instamatic and began taking photos to pass the time at sea. The owner of the photography shop where I had my film developed liked my work and suggested that I send a few prints to a connection of his at Kodak in Rochester, New York. Kodak purchased one of my negatives and subsequently published it in several books.
Immediately upon making the sale to Kodak, I enrolled in a photography course and studied for two and a half years with a Master Photographer. To support my interest in photography, my father who'd traveled the world making photographs gave me his Zeiss Ikon Contaflex along with three lenses. I soon graduated to a Minolta X-1 that I purchased in Europe, then a second X-1, and then to a couple of Nikon F-2s and multiples lenses.
Over the years, I've photographed with the Zeiss Icon, Nikon F2, Mamiya RB67, Canon PowerShot S5 IS, Nikon D-200, Kodak Instamatic, Kodak Brownie, and several "toy" cameras — landscapes, nature scenes, nudes, portraits, candid portraits, and street scenes, particularly in Europe. While I've now converted to digital photography, I miss my F-2s. I miss transparency film, especially Kodak Ektachrome 400.
I've had recent work licensed by National Geographic, the U.S. Military Academy at West Point, the Wyoming Historical Society, the University of Montana, and other organizations.
I'll accept photojournalism assignments, particularly if they involve road trips in the Mountain West and Desert Southwest. And I still photograph the occasional nude portfolio.
Because of my background in advertising — I'm a copywriter-producer-director and voice and on-camera talent — and through my experience in motion pictures, plus the formal study of photography, I do have a solid understanding of lighting, composition, and technical excellence. Nevertheless, I break the rules much of the time. (My cell phone portfolio and grainy, pushed-three-stops Ektachrome images are some of the best work I've done.) After all, I mostly capture images to entertain myself. However, when it comes to photojournalism assignments — or when I'm directing a video or film project — I insist on technical perfection.
I care little about awards. While I've earned many of them — mostly for copywriting, producing, and directing film and video — they're all hidden away in a file folder somewhere. I'm happy to have a venue through which to share some of my photos and especially to be inspired by the works of other photographers.