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.