These photographs of smoke, dust, flames, and air colonies provide a timeless, placeless field upon which to scrutinize impermanence and the ephemeral. I'm interested in using the large format camera, a tool of representation and vivid mimetic description, to record events at the edge of visibility and consciousness.

In this body of work I'm interested in using the camera to record traces of events that are unobservable to the human eye and which occur over long durations of time. The sun's path in the overhead sky, the ecliptic, leaves a physical trail on the film that provides cumulative evidence of one lived day.  

These three projects are comparative studies of the present moment as it is revealed in the overhead sky from multiple camera positions around the world, and at one specific moment throughout the year.  They offer the viewer the unique opportunity to view the sky and compare variations in its light and color.


These two projects represent my recent attempt to record the subtleties of light falling on a flat surface. The first project uses a 16x20 inch camera to focus on nothing more than the slight gradation of tone on a white wall.
The second project involves making large sheets of paper sensitive to the wavelengths of light that fall upon them and arresting that effect permanently.  Looking at the subtle variations of indirect light as it enters through windows into interior spaces is the subject of these salt prints.  Long durations of time, from 5 to 60 minutes, allow me to gather up the cumulative effect of these light rays onto sensitized paper. These subtleties thereby become visible to create an elegant recording of nothing more than light itself.