I am a photographer based in Salisbury, NC, trained at the University of North Carolina at Charlotte.
I am especially interested in the architectural form, and the impermanence that is displayed. People often think of a building as permanent, never moving and never changing. One look at Uptown Charlotte (or many other cities around the world) will prove that is not true; buildings that stood for years have made way for taller buildings. It is only a matter of time before this circle of life repeats, and the old is swept away for the new. A photograph of a building is a permanent record of an impermanent object.
Portraits, of course, are a natural extension of this philosophy, and of course perhaps the most fleeting of the everyday: flowers. Most flowers are gone within a few months, and a person's face will be different within a decade in many cases.
I employ black and white for much of my photography. For subjects that demand it, I will use color. I use both film and digital cameras, but I enjoy working with film much more; although the process is much more cranky and methodical, the tangible negative and print produced is unlike anything that can be done using Photoshop, namely the tactile sensation of loading film, developing the film, and producing a print.
As a Photographer, I have a great number of others I look to for inspiration. I look to street photographers such as Joel Meyerowitz, Robert Frank, Henri Cartier-Bresson, and Brassai. Fine art photographers such as Alfred Steiglitz, Ansel Adams, Diane Arbus, Larry Clark, and William Eggleston are also sources of inspiration, as is the architectural work of Julius Shulman.
Good equipment does not make a good photograph. I firmly believe this, as some of the images in my portfolio were made with a Nikon D40 or FG (both entry-level cameras of their time), and some made with a Mamiya RZ67 or 4x5 (regarded by many as state of the art cameras). Currently most of my work is done using a Pentax LX with a selection of SMC-M series Pentax lenses. I have many other cameras to choose from, and each has their own strengths and weaknesses. For example, the Holga creates a larger negative that is soft, dreamy, and imperfect. The LX creates a smaller negative but can be technically close to perfect. As you can imagine, a Holga may not be the best choice for a reproduction of a painting, just as an LX may not be the best choice for a shoot that requires extremely large prints.
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- Charlotte, North Carolina, USA