“The negative is the composer’s score, the print is the performance”

Ansel Adams

I’ve read a lot of quotes from famous photographers, but this one really resonated with me, and still does. The camera produces the score, but is free to interpret the raw data and create beyond the raw image. So my photos range from SOOC to heavily post processed and manipulated. You’ll find articles like:

Painting with Light

Ode to Ansel Adams

Ivy Leaves in Black and White: A 6-Part Lensbaby Series (Including 3 Main Optics)

Chasing Late Light at F2.8, Playing with White Balance, When the Camera Can’t Handle It!, Can I Make Something Out of Nothing?, Leaves in the Sun: Seeing the World in Black and White?

I live on Kiowa Avenue in Los Angeles, California, and shoot landscapes, seascapes, and local attractions around me. I also shoot “still life” and macros…anything that catches my eye or imagination. I don’t shoot people or city life, or use long exposures or night shots. I have a growing collection of lenses, most of which are mounted on Sony bodies.

My general equipment:

Sony RX100 and RX100m3 (my point-and-shoot cameras)

Sony RX10m3 for landscapes and zoom

Sony NEX-6 and NEX-7 My main camera bodies, combining ease of use with great photo quality. So light - perfect for me! Sony has stopped making them so I have a collection of several bodies. I mainly use Sony e-Mount lenses.

Sony A77ii - The largest and heaviest camera body I own. I use it with a Sony A-mount 100mm F2.8 Telephoto Macro

Pro Gear:

IR Converted Cameras: Nikon D80, Nikon D90, Sony a5000 (590nm, 720nm, 850nm)

Lensbaby (mounted on NEX-6) Composer Pro 2 and "Double Glass", Sweet 50, Edge 80 optics

Lenses

Sony e-Mount 30mm Macro

Sony E-Mount 55-210mm Telephoto

Zeiss Touit 2.8/12 e-Mount

Zeiss 50mm Makro

Sony A-mount 100mm F2.8 Telephoto Macro

Vintage Lenses

Helios 44-2 (frozen at F2.8)

Helios 44-2 (LOMO)

Meyer-Optik Orestor 135mm

Pentacon 50mm f1.8