The images in the Canada portfolio were made in eastern Ontario and on Gabriola and Vancouver Islands in numerous trips to these areas between 2006 and 2012. While very different in terms of climate and topology both areas provided me with fascinating subject matter for my monochrome printing in the rocks, trees and architecture.

Carolina Rock & Waters


Although I have been making photographs for most of my life my approach to the media became much more serious in the late 1970s for a variety of personal and professional reasons. I became very interested in sensitometry and perfected my exposure and development techniques to produce better negatives.  I also took up the use of a large sheet film camera that made 5X7” negatives.  Much of my work between about 1978-93 was made with a 5X7 camera, and my preferred subject was the landscape of the mountains of western North and South Carolina.  Most of this work was originally printer with silver gelatin, but in the past decade I have scanned many of the negatives and printed them digitally with archival pigment processes, including Piezography.



A selection of photographs made in China during trips in 2007, 2008, 2010 and 2012. During these trips I photographed extensively in China, from the plains of Inner Mongolia in the north, to the Karst Hills of Guanzhou and Guangxi provinces in the south, to the high mountains of Hunan  province in the southwest. China is for me in many ways a great paradox, a confusing mix of wealth and poverty, modernity and the old, but always fascinating. Most of my best work in China was done with a 6X7 cm medium format camera, the Mamiya 7II.

Experimental Light



The images in the Experimental Light gallery were made with film and digital cameras that capture light in the invisible infrared band of the spectrum. IR photography has a look that is often quite different from that seen with the naked eye and for this reason is a highly creative tool that can alter our vision of the way things are. IR photography has been around a long time but the use of digital cameras, which can be modified for maximum sensitivity to IR wavelengths, has made the process of image capture much easier than when using IR with special films. In the past when I worked with IR film with large format cameras exposures were often several minutes in length, limiting considerably the type of images one may capture since a tripod is often necessary. With modified digital sensors exposures can be as fast or even faster than with visual light photography and hand held image capture is often practical. I have only been involved with digital IR for about two years and still consider my work experimental.




I lived and studied in the south of Spain (Granada) during my university years and have returned many times since then to study, carry out research, and to photograph. The images in this gallery were made during trips to Spain in 1994, 1995, 1999, 2003, 2007, and 2010. Nearly all of this work was done with the 5X7 view camera.



The photographs in the Mexico gallery were made between 2002 and 2011 primarily in the areas of Oaxaca, Morelia, Mérida and Xalapa. One of my greatest interests in photographing in Mexico is the clash and fusion of Indigenous and European cultures. Most of images in the Mexico gallery were made with either a 5X7 view camera or the Mamiya 7II.



ULF photography involves the use of cameras that make negatives of 11X14” or larger. These large negatives give prints that have very great detail. In the past negatives made with ULF cameras were contact printed but today many photographers are scanning these negatives and applying corrections in Photoshop, which allows for greater control of tonal values than when contact printing with purely analog methods. The images in the ULF gallery were made with two size cameras, 7X17” and 12X20”.

Carbon Transfer

The images in this gallery are digital representations of hand-crafted prints made with the carbon transfer process. In carbon printing a wide variety of pigments can be used to produce prints of very high quality that are exceptionally resistant to fading and other deterioration.  In this gallery I have chosen to show only work with a distinctive warm brownish/black that results from the use of lampblack as the primary pigment. The actual image is comprised of a pigment encapsulated in hardened gelatin, which gives these prints unique surface characteristics, including a three-dimensional quality that is highly unique among photographic printmaking processes. All of the images in this gallery were printed from enlarged digital negatives and range in actual print size from about 16” X 23” to 19” X 23”.