I began taking photos when I was about 10 years old. I was always amazed that you could capture a moment forever on a piece of plastic and then make it into a paper memory. I was always with a camera, whenever I would go anywhere. Like everyone else, the photos were not good, they were actually terrible to start, but with practice and a lot of study, they started getting better.

In photography, the old saying about "If you do not learn from your mistakes, you are bound to repeat them" applies about 5 times. Some people are satisfied to just shoot snapshots, never learning why it did not look like what they saw or envisioned. They are forever destined to documenting the moment in a journalistic manner with no improvement or vision. I learned over time to see the picture you have to feel the photograph in you. Making it a part of you and the subject. Documenting what you feel as well as what you see.

I spent forever studying about inverse square, optics, backlighting, specular, direct, indirect, and so on and so on and so on. I had many types of jobs from photographing rock concerts to conventions, to nuts and bolts and automobile crashes. I could expose the film properly, make the image look exceptional, adn receive praise for my photographs . . . . but there was something missing, that special interaction that occurs when you photograph a living, breathing, human being for the purpose of capturing the essence of them. This interest was combined with the fascination and awe of the images that appeared in some of the art and upper scale mens magazine.

I recall to this day the debate that was occuring at that time about the conflict of photography and art, and how (according to the artists, who worked with brushes and paint) photography was not art, but documentation. I came to the reality that the photos I admired in Playboy and the artistic figure studies were nothing less than "Posed Art." What could be more difficult and challenging than to capture the essence of a person, how they looked and felt at a particular time and place. Then make that image into an art piece that can stand it's own against any painting. Your opportunities are as endless as the number of people there are in the world times the number of emotions and feeling they can portray times the number of places that your can photograph them. (people x emotions x places = satisfaction) .

So here I sit, too many years later, stuck in the drudgery of having to make these images of people into complimentary pieces of art, making them happy on a daily basis and not wanting to trading it for the world. I have turned this passion into a business that serves my clients, myself and interested onlookers. I work with talented and artistic people who care about the end result. And I go to work everyday without a regret to the decision

Information Packages

Model / Talent Information Package - Adobe PDF