STATEMENT Although I have made a living from photography for the past forty or so years through some combination of teaching, fine art and commercial employment; it’s only recently that I have devoted my energy to exhibiting my photography in fine art venues. I have shown in Pennsylvania galleries on a temporary basis in Kutztown, Reading, Allentown, Bethlehem, State College, Jim Thorpe, Lancaster and Harrisburg; as well as some national exposure. My photography work has been published in a variety of ways: instructional manuals, fine arts publications, commercial documentation, editorial work and poetry journals. This web site is meant to reach individuals, museums and galleries interested in owning, showing or selling my work on a more permanent basis. I grew up in Lancaster, PA., well known for it’s tourism industry’s exploitation of the Amish. Like any adolescent hating restriction, besieged by boredom and gifted with a sometimes morbid curiosity, escape was a common solution. One option was the surrounding countryside offering the calendar-quality manicured farms of the Pennsylvania Germans; continually diminished by the drive to blanket with indistinguishable cul-de-sacs. I couldn’t articulate it then, but what was drawing me even more powerfully than these cultivated farmlands; I would now call the idea of wilderness. Although certainly not Longfellow’s “forest primeval”, there was the relatively uncivilized woods, streams and rivers. And there was the less quantifiable dark emotional wild lands of danger, despair and desolation also beckoning. Since then my connections to wilderness have mellowed and become more nuanced, but fortunately still exist. When I experience “heightened states” in some environments, I try to nurture and inhabit the moment; searching for the combination of physical elements that best visually embody the emotional ones. My efforts to translate and interpret this intricate interchange with my surroundings, both internal and external, has driven much of my current photography. When shooting, I think about other artists less and about individual pictures more. My goal is to keep the irrelevant inner dialogues as quiet as possible while trying to appreciate all the possibilities of interpreting the immediate moment. Since informed instinct is so primary to this process, the identity of what’s in the frame becomes secondary. It’s true that I tend to gravitate towards certain surroundings, but that’s more about me feeling especially responsive in those environments, and less about the individual objects like farms, trees, fields or old buildings. Because the classification of the imagery is secondary to how well many layers of variables are relating on a photographic “stage”, any coalescing of pictures into “themes” based on subject matter is mostly coincidental. Although themes and series are convenient for organizing, I think in my current work they can become arbitrary and limiting rather then informing the full experience of each piece. It’s best if a viewer engages each image, unaided, on its own terms. Just the picture on one side and the viewer with only their own ideas, experiences and reactions on the other. Each encounter with the image would be unique; like it was to make them.