I no longer accept commercial assignments (except from prior clients) but am driven to shoot solely for the love of the art. Usually more comfortable working with century old wooden cameras and equally old lenses or 1970s medium format cameras, a camera is really only a tool - I am not dogmatic about equipment since it is only the final image that matters. Nearly all images are in Black &White, achieved through traditional film and wet darkroom methods, with occasional digital cameras and gicleé prints when necessary.
These antique large format cameras and old brass lenses slow the process to a crawl, allowing time for consideration and contemplation, only permitting four to eight images an hour to be created, requiring a patient model. Ideally, we would shoot in the photo studio for a two hour session every week. Due to the size of the equipment, Most work takes place in the studio (lit by natural and artificial light) but some out doors shooting as required. It would be an honor to collaborate with you creating exquisite images.
Not only a practicing photographer, but also a teacher & researcher, my articles and images are scattered about in texts and the internet. Its long but you are welcome to read my doctoral dissertation on the history of soft focus lenses online at https://research-repository.st-andrews.ac.uk/handle/10023/505
One of the first comprehensive books on alternative processes, Coming into Focus (Chronicle Books, 2000), contains chapters on cyanotypes, kallitypes, and paper, written by myself. The first and second editions of Eric Renner’s landmark book, Pinhole Photography, Rediscovering a Historic Technique (Focal Press, 1994) features both text and images of mine. The now discontinued magazine, “The Pinhole Journal,” featured my pinhole and zone plate illustrations in multiple issues.
Most recently, the benchmark exhibition “Poetics of Light: pinhole photography” at Herzstein Gallery of the New Mexico History Museum (2014-2016) displayed three of my prints in the 225 image show. These are reproduced in the accompanying hardbound book, Poetics of Light (Museum of New Mexico Press, 2014).
In 1981, I was the curator for Santa Fe Gallery of Photography show, “Historic Photographic Processes,” one of the first exhibits to focus on historic photographic printing processes. Seven years later, I curated “Ironworks ‘88, an international exhibition of iron based photographic methods at the College of Santa Fe (now the Santa Fe University of Art and Design).
Institutional collections include: The Palace of the Governors, Santa Fe, Harry Ransom Center, University of Texas at Austin.
I was granted the status of a Fellow of the Royal Photographic Society of Great Britain in 2012.

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