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My work bridges traditional and contemporary methods of photography.  I use an 8 by 10 inch large format view-camera similar to the ones used by nineteenth century landscape photographers.  The color negatives are digitally scanned and printed on archival inkjet paper.  

I’ve never thought of these images as documenting reality.  To document something is to claim to understand it.  I would rather find images that are surprising, unfamiliar, uncanny.

When the viewer encounters these photographs—while it may be only for a moment—in that moment it makes sense that there’s a doorway into a grassy field, or a river spanning a bridge.  In that moment the viewer sees how the camera sees: without the responsibility of interpreting the image according to reality.  If you follow the camera, you can see something different from what you expect.  

I photograph sites at the periphery, places you might pass on your way to work, but where you would rarely stop. By the placement of the camera, the kind of light, and the level of detail throughout the depth of field within the picture, I try to create a dreamlike or fantastical sense of place.  My pictures are not digitally manipulated.  It is important that the key elements are found rather than invented.  I am fascinated by the idea that this was in front of us all along.

I am working on three series of photographs:

Thresholds
A threshold is a boundary between two spaces, and these photos include thresholds in different forms—doorways, windows, frames, and reflections—that give a feeling of depth and hint at what lies beyond.

Vistas
All the photos in this series suggest an idea of the infinite.  Images without fixed boundaries, they may go on forever.

Strata & Fissures
Land and structures are split in the photos in this series, revealing the sudden transition between the natural and the man-made.