I'm more of a craftsman than an artist. I’m a skilled technician and documentarian. I prefer to see and portray it as it is. I was a full-time working professional photographer for over 30 years, most of it self-employed with my own studio. I know how to get the picture, under any conditions, but if my stuff is boring it’s maybe because it’s almost all “straight” photography. On the other hand, I hardly ever show anything unedited except as a before-and-after example. I am a happy snapper with pretensions, but I love it and strive to improve every day. Since late 2014 I shoot 100% raw and post-process in Adobe Lightroom Classic and Photoshop with a touch of Topaz AI applications.

I worked in every format from 35mm through 8x10" view camera. My bread-and-butter was public relations, portraits, and weddings. Nowadays I prefer landscapes, flowers, museums, and my rapidly growing granddaughter.

I keep it as simple as possible. In 2007 I acquired a tiny digital Nikon L12 point-and-shoot, but quickly upgraded to a Nikon P5000. In spring 2011, I upgraded to the Nikon P7000, an impressively sophisticated tool, raw capable, yet still compact enough to suit me. In 2014 I upgraded again, to a Nikon P7800, which I loved for its electronic viewfinder. In 2016 I again upgraded to a Sony RX-10 for its 1” sensor, but that camera died from a fungus. In 2018 I finally upgraded to what I joke is a “Big Boy” camera, a mirrorless Sony A6400 with a half-frame APS-C sensor. I’m not a gearhead. I love zooms. I rarely use flash, preferring available light (or "available dark"). I use few accessories except my beloved monopod (with shooter's wye rest), rarely a tripod, sometimes a "stringpod," and occasionally a circular polarizer.

I am a “sharp freak.” I will trash a potentially good picture if it is not sharp. Every image is tweaked — reworked, post-processed — because I spent far too many years in a darkroom dodging and burning and flashing not to. Every capture is analogous to a negative, and the negative is not the finished photograph. The legendary Ansel Adams likened the negative to a musical score and the print to a performance. You could print the same negative multiple times and get different final results. I like that concept.