I am very interested in the way that light falls across our world. Refractions, shadows, and odd beams of light. I can sit and watch the branches on a tree move and change the light. The subject is, ultimately, unimportant for me - it's all about the light.

Two of my previous projects - the Warehouse and Night Work - are based on light. The warehouse was based on the odd light that shined through the warehouse from different windows, doors and openings. I added the nude figure to the warehouse because I wanted something to reflect the light and to contrast with the desolation of the deserted warehouse. In my Night Work, I shoot both nudes and fashion because both genres look interesting under the lights at night. It is a "found light" project - I go around Houston and find lights at night. The models are reflectors for the found light.

I have a very simple process in creating images. I shoot most of my images using digital technology these days, because I get immediate response and feedback. I like the sense (or illusion) of positive control this gives me. I print using Photoshop and an inkjet printer, or I have photographic prints made from my digital files by a service. I don't get too wrapped in the output process. Not that I'm not a perfectionist - I am - but I am not enamoured of the process as a integral component of my photography.
I started in photography in 1972. During the 70's I was a young student that worked on the high school yearbook, sold photos to the local paper, and even did some light plane aerial photography. In college, I again worked for the yearbook, the campus paper, and did what free-lance work I could find.

Upon graduation the reality of a daily working life took me away from photography. I sold my darkroom, then started selling off my cameras. In the late 1980's I was down to one used Nikon that was more a vacation camera.

In 1991 I married an artist. When she looked through old portfolios and photos, she encouraged me to explore as an artist again. She put money behind her suggestions by purchasing a Mamiya 645 medium-format camera for me in 1995.

I have been back shooting and creating on a regular basis since 1998. I owe thanks to my friends, fellow photographers, and the models with whom I have created and collaborated.

Most of all, I thank my wife Lillian for her insight and encouragement.