Pinhole photography is the most quiet and satisfying technique that I have practiced in 20 years of camera work. I use a rangefinder camera fitted with a pinhole-drilled body cap in place of the usual glass lens. My exposures are hand-held and range from ½ a second in full sun to 3 or 4 minutes in fading light. Both involve my nearly still body and a long meditative steadying of the camera. It is a great joy to silently count off seconds while imagining the silver record accumulating behind that tiny gleaming aperture.
My movement during these long exposures and the optical quality of the pinhole softens and diffuses the scene in front of me. Furthermore, I choose places and compositions with which I feel a strong empathy. The active merging of this intuition with the syntax of my technique, along with a desire to work silently and unencumbered, produce this body of work. These digital reproductions represent an excerpt of the toned, gelatin-silver print portfolio.
I have spent several summers traveling through Europe. Like a birder with a life-list I tour to experience and study the paintings, sculptures, and architecture important in the history of art. My companions are always the same: the ghosts of Henri Cartier-Bresson and Eugène Atget, as well as my wife Lori.
I work in both color and black and white depending on the subject. I used a 35mm film camera for most of the black and white work. I used a Canon 5D Mark II for the color work. Finally, these digital reproductions represent an excerpt of two physical portfolios: one toned, gelatin-silver print body of work and a second color, ink-jet-printed body of work.