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For me, photography is a method through which I more intimately and meaningfully come to interact with and know nature.  I am drawn to the intersection of science, technology, and nature inherent to landscape photography; I even experience too-frequent moments of “glass envy”.  Nonetheless, the equipment is secondary to the experience behind the lens.  After seriously pursuing the craft for the past seven years, I think I have finally evolved as a photographer to the point where having the camera with me no longer risks detracting from the experience of a natural environment or experience, but potentiates that environment or experience beyond what it would have otherwise been for me.  Having to learn to see through the lens has more generally taught me how to see what was always before me but hidden by my own lack of visual and cognitive awareness.  A sunset is no longer merely a beautiful event.  It is a visual and personal experience of understanding the interplay of timing, refraction, geometry, etc.  In other words, it is now an even more beautiful experience for me.

My goal is to create photographs that accurately represent my experiences in nature, or at least do so as best as I can.  Toward this end, I eschew the use of most digital manipulations.  This includes adjustments to such parameters as contrast, tone, saturation, or white balance.  Due to the limits of the Bayer array algorithm fundamental to CMOS and CCD sensors, I do adjust sharpness.  I might also push a stop or two with starry landscapes to compensate for an in-camera ceiling at ISO 1600.  My photographic ethos is grounded in the notion that any digital manipulations during post-processing should be done only to compensate for technological limitations of the equipment.  In my opinion, doing more might yield a beautiful photograph, but one that is truer to the wishes of the photographer than to the actual experience in nature at the time the light was captured.

My photographic vision has been strongly influenced by the works and writings of Galen Rowell and John Shaw.  Whereas John Shaw represents for me the pinnacle of technical perfection in nature photography, it is from studying the legacy of Galen Rowell that I have come to see the light, and not merely that which it illuminates.

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