Photographer’s Statement

It is difficult if not impossible to understand what a photographer is trying to do in his body of work by just looking at the images. A photographer should explain a little more about his intent so that the viewer understands what he is trying to accomplish.

Many of the images posted here were taken all around the world. My images are not true documentary photographs. I find that concept to be rather misleading, even though its proponents claim it is the unadulterated truth. Documentary photography allows the photographer total discretion in terms of focal length and the use of camera controls and the point of view the shot is taken from. Classical darkroom techniques like cropping, dodging (lightening areas locally), burning (darkening areas locally) are totally okay.

The problem with this approach is that the human visual system and the camera do not “see” at all the same way. A camera records a static single two-dimensional view, whereas the human visual system stitches together a composite three-dimensional object and our brain filters out distractions and things that are not even noticed. My images fall into a genre commonly referred to as “Interpretive Documentary”. I try very hard to show the viewer what I saw and try to downplay or eliminate distractions that detract from what I saw.

The world is changing. The scene I show existed only for that brief moment that I pressed my camera’s shutter release. The world has moved on, but I have preserved that moment. Sometimes it is a very common scene, sometimes it is a well-known place and sometimes it is something very few people ever get the opportunity to see.

My model and cosplay images are much more traditional. They are generally shot either in the studio or on location using traditional studio lighting. I started shooting these types of subjects several years ago, mainly to get a better understanding of how to photograph people. I am starting to come into a style I am comfortable with.

I have been influenced by the likes of Bernd and Hilla Becher and some of their students at the Düsseldorf school. August Sander’s “deadpan” work between the two world wars has influenced my portraiture and the Italian still life painter, Georgio Morandi has influenced my still life work. The deadpan style with its emotionless characterization of various subjects and strong technical precision can be seen in much of my work.