> Artist Statement
Based in Salt Lake City, Utah; will travel.
Camera Formats: Digital 35 mm, film 35mm, medium and large format and Widelux Panoramic
Please call or email for rates and pricing policies
The photographer owns the copyright to all images; however, the rights may be purchased for a reasonable fee per image.
Fine Art Photography Giclee Prints
Widelux prints (40" x 16") available framed or unframed. Custom sizes also available.
Digital Prints basic prints framed are 16" x 25." Custom sizes also available.
I spent my first 5 years as a still photographer shooting for clients located primarily in California. Clients ranged from Rodeo Drive jeweler Fred Jollier to Mattel's Barbie, Yamaha, General Electric, and a variety of department stores and manufacturers.
I transitioned into video production based on the camera and lighting experience I had picked up from still photography because I wanted to explore characters in motion and story development.
As the 1980s ushered in the computer revolution, I began working in multimedia production and eventually became senior media producer for Pinnacle Multimedia. I produced over 45 computer-based training programs for use in a broad range of industries.
After several years as a marketing professional in the high-tech field, I worked for DAZ Productions, one of the nation's leaders in 3D character animation where I photographed a variety of texture maps (digital photographs) used in the film and video gaming industry.
Past clients in photography, video, interactive multimedia include:
J. Paul Getty Museum
Southern California Edison
Los Angeles Times
State of Washington
Bank of Nova Scotia
City of Santa Monica
Santa Monica College
Los Angeles Workbook
Dentrix Dental Systems
In every photograph, I try to consider the elements of the scene in such a way as to capture a "mind's eye" view of an experience, over the act of just capturing a pretty picture. As many current photographers have done, I have made the move to cross the digital divide from film, to computer. But I find that because of the extensive work I do with the Widelux camera, film photography will continue to play a major role in the expansion of my portfolio.
I remember the first time I saw a Widelux photo. A small gallery in Venice, California featured the work of a photographer who shot a series of images based on following a group of Japanese tourist through a day trip to Disneyland. Initially, I was overwhelmed by the scope of the swing-lens panorama camera and its ability to capture an enormously wide angle of view without including the traditional top to bottom view usually associated with super wide angle lenses. But what really captivated me was the "story" I saw framed within the image, much more than what my eye had ever beheld.
What I saw was the distinct "social bubble" which instinctively separates groups of people from other groups of people, as well as displaying how individuals can feel easily isolated within crowds. It was this sense of the isolation of groups, or the individual, posed against the "scale" of the surrounding environment that intrigued me. In this way, the camera seemed capable of presenting a "story within a story."
I worked with the Widelux camera for close to a year before I was able to really synchronize all the elements required to capture the right image in the unique panorama view the camera affords. My epiphany came during a major coastal storm in Southern California, the kind that hits the city once every ten years. The seas were enormous; Santa Monica Pier was being consumed by it. Pacific Ocean Park surrendered to the storm's surge and collapsed into creosote coated rubble with wildly contorted amusement park rides.
Further to the south, Manhattan Beach, with its concrete pier held firm against the sea. But something more unique was taking place on the beach, the traditional communal gathering spot of this sea loving community. Storm surge had advanced the braking waves hundreds of feet onto the shore. And strangely enough, the community's love of beach volleyball provided a setting as unusual as I had ever seen.
In the film "Close Encounters of the Third Kind" people are called from all over the world to a site in Montana to meet the first space aliens. In a scene featuring a noted French scholar, he tries to define the event taking place before him. In what at first seems a loss for words, he distills the situation to that of an "event sociological," but over the years as I have pondered this definition and found what was occurring before my eyes was just such an event also.
Scores of people came to the beach to participate in this gigantic storm. And since the area's usual design includes scores of volleyball courts, the community made the most of the line judge seats atop the upright wooden beams used to support the volley ball nets. Again, the crowd, the isolation and the panorama worked in a way to complete my initial insight. And at that moment also, I became one with the Widelux and learned how to use the camera as the unique tool it is. Which really only means I still have a lot of work to do.