I am an artist living and making my work in Brooklyn, New York City. I specialize in analog photographic media. My subject consists mostly of urban and natural landscape, and street, studio, and life portraiture.

I favor simple equipment and processes, and believe in doing more with less. I believe that the camera is a magic box, capable of producing an image that is simultaneously photodocumentary and unsettlingly surreal. I make pictures because it is the most succinct way for me to express, deal with, and remember my world, as I see and have seen it. In showing my work, I contribute to a conversation about life that I would otherwise struggle to publicly articulate in words.


We recognize in a good photograph a transformative quality: that it exceeds mere description and articulates something deeper. We marvel at the camera’s ability to “faithfully” record an instant visual document of people and things. But photography is actually the original, and quintessential surrealist medium. It renders time and space unlike any other. Photography’s real identity, and its mystery, is in the relationship between universal happenstance and artistic command.

There is no amount or type of equipment, technique, or technology that can substitute for a unique vision and a true connection of the photographer to their subject; no one tool, medium, or process that leads one to making more or less “authentic” images. Authenticity, originality, quality/excellence, etc., are, first, character traits of the artist. That said, I work exclusively in analog media. I prefer the experience, tangibility, and the Soul of a handmade artifact. I work with a variety of hand cameras, a 5x7” field camera, and an 8x10” studio view camera. I love printing in many media: contact printing, oversize enlargements, and traditional chromogenic printing. Such a toolkit enables me to make a rich and diverse body of work, and constantly approach the act of photographing with fresh eyes. To me, each photograph is its own sovereign entity. Aesthetic and medium are secondary to that which truly defines a body of work: form, feeling, and sensibility.

Photography is a potent means of communicating that which is deeply personal, even pre-verbal. I believe in the power of portraiture to distill something about humanity; that there can be worlds in a gesture. The portrait I make of a loved-one has personal specificity, but I intend for my audience to take from it something more universal. The viewer does not need to know my subject in order to understand and be affected by the photograph. Likewise, urban/landscape photography is a profoundly expressive way to discuss and explore internal life. At its best, it makes the act of viewing a work more experience than spectatorship.

In making these works and approaching these topics reflexively, I communicate not just factually, but by communicating mood. Regardless of idiom, the objective of my photography is less about knowing and more about understanding. Impeccable communication requires feeling and empathy, so I strive to have my audience react viscerally to my images, as I do. This way, they may come to know not so much what I know, but what I have felt.



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