My work features landscapes and architectural structures that are hidden, overlooked and on the periphery. These are solitary, strange spaces capable of surprising the viewer and subverting expectations of what they should be. They are physical entities of dissonance: between order and disorder, beauty and neglect, wealth and poverty, decay and renewal, past and present. While empty of people, they bear marks of human presence. Traces of graffiti, unexpected reflections, cobwebs, retrofitted alterations, and unusual debris reveal layered histories in which experiences pile, accordion-like, onto a single place. In my photographs of these spaces, I seek to create images that articulate the past and future simultaneously, for as the material world is being replaced by a digital one, such ruins are what remain.

I photograph these sites using a camera and photographic method that incorporates both traditional film and digital techniques. I use an 8x10 inch large format view camera similar to those used in the late nineteenth century to capture the level of detail and sense of grandeur that such spaces deserve. The attributes of this camera encourages a deliberate approach to each composition in order to make sense of the space within the frame. It permits the lens to move independently, allowing complex adjustments to the picture’s perspective and focus in order to create images that are as visually complex and disorienting as the sites themselves. The process is slow, involving a tripod, a gridded ground glass, bellows adjustments, manual focus and settings, as well as the use of high-resolution color sheet film. The resulting negatives are drum scanned, digitally color corrected, and printed in large format to maximize the resolution and subtlety of the film. The images are not otherwise digitally manipulated or changed.