I consider music a large influence in my photographic style. Rhythm, time, silence and syncopation are all a part of my work. My studies in jazz improvisation as a music major in college, along with the study of the documentary genre of modern photography, have conditioned me to work in a spontaneous style of making photographs.
Photographers such as Henri Cartier-Bresson, Lee Friedlander, Garry Winogrand, Andre Kertesz, and Robert Frank contributed to my interest and appealed to my sense for the spontaneous. The results were photographs about how we all relate to our environment both physically and psychologically. This later developed into more complex compositions with juxtapositions of shapes, objects and people.
Throughout the years I have worked with different cameras and formats but the most appropriate for my intentions became the Pen FT “half-frame” camera. The half-frame camera became an instrument that could allow me to establish a scene of consecutive frames to form a panorama. This technique facilitates my interest in the spontaneous happening and attempts to address the notions of time and space. When printing multiple frames, the viewer experiences a familiar scene but after further inspection notices the single images that form the altered panoramic view. This is especially true of the “Half-Seen” series where the locations are different between groups of three or four frames. These examples are more complex for me, the photographer, because there is a certain loss of control due to the in-camera editing.
I continue to work in this manner with historic and alternative techniques. The Cyanotype has always been a part of my interest of image making but within the last few years I have been able to promote the same ideas of time and space through the fragmented canvas and paper compositions. This body of work has become a way to collaborate with my friend Susan Weil, an innovator in the use of the “Blueprint” in contemporary art.