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Images
have always fascinated me. They have the power to capture truth and
life’s essence in a split-second. It’s what
captivated Henri Carter Bresson when he said that photography could
“fix eternity in an instant.”
As a kid I wanted to create more than a remembrance of what I saw, I
wanted to create something approximating life. I found it from the
rumble seat of my mother’s Model A Ford, photographing the
hazy, rolling hills and tobacco farms of rural Kentucky. I’d
be amazed when I got the film back and reviewed the images. Often, the
sights, smells, and sounds - the experience - came flooding back to me.
Living out west I found intrigue in the old neon motel signs, dusty
landmarks, and rusting oil tanks of front-range Colorado. Their
weathered, run-down appearance seemed to me a testament to both their
past glory and their present neglect. I experimented with light,
perspective and focus, trying to emulate early 20th century
photographic masters like Edward Weston, Alfred Stieglitz, and Ansel
Adams.
Later, I realized I needed to root myself in a strong technical
background. At the New England School of Photography I began studying
composition, contrast, and color; the visual tools that photographers
use. They came with rules that I learned to bend and sometimes break in
the pursuit of meaning. Then came digital photography. This changed
nearly everything. Suddenly, I had a much more sophisticated toolbox to
work with.
After 10 years, I still feel Boston is a fantastic place to be a
professional photographer. Its campuses of learning, corridors of
power, and varied humanities crackle with life. Each day brings a new
assignment and a new opportunity to create images that tell just one
more story. |
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