He initially focused on candid street photography, especially in Mexico and Guatemala, until Covid masked his subjects, chased them indoors, and limited his travel. That reoriented him toward the rich landscape and “new topographic” opportunities close to his Taos home in northern New Mexico, at least until the shortage of oxygen at high altitudes transported him to the California coast.
He now creates intimate, intertidal landscapes within the threshold between sea and land — the liminal in the littoral. On the Pacific coast, twice each day it is sea, and twice each day it is land. It belongs to both; it belongs to neither. His work owes an obvious intellectual debt to California Impressionism and to the West Coast Photographic Movement. Now in his eighties, he has been drawn increasingly to the patience of intertidal rocks as subjects. He shares Edward Weston’s objective “to photograph a rock, have it look like a rock, but be MORE than a rock.”
The past year he has increasingly employed long exposures on a tripod to emphasize the fluidity of the sea in contrast to the sculptural geology of seastacks, especially backlit at negative low tides.
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