Although I began photographing in 1958 and making prints on print-out paper in 1959, photography was just one of my many hobbies until 1964, when I discovered the photography of Edward Weston, Ansel Adams and Paul Strand during a visit to my local library. My response to the Weston photos in Peter Pollack’s The Picture History of Photography was so overwhelming that I knew at that moment that photography would become my lifelong passion. In retrospect, I feel that my previous experience with print-out paper prepared me to appreciate the beauty I saw in those photos. Early on I read every photography book and magazine I could get my hands on. During that period, the greatest influence on the development of my seeing and on my ideas about photography was Edward Weston, which he communicated through both his photography and his writing. I took great interest in the work of many other photographers, including Brett Weston, Paul Strand, Alfred Stieglitz, Edward Steichen, Paul Caponigro and Ansel Adams. I was honored to know Adams not only through his photography, but also as a friend and mentor. I think my work could be called contrapuntal. I don’t have a single element that stands out as being “the” subject. In contrapuntal music, every part is important. That’s what I like to do in my photographs. I don’t make images of an isolated subject with a background supporting it. I greatly enjoy the challenge of working with complex, visually dense subjects, puzzling out what I hope are meaningful compositional solutions along the way. I realize that in so doing I am walking a knife’s edge, the other side of which lies the dreaded specter of multiplicity. As photographers we are limited to the two spatial dimensions of the print, but there is no limit to the number of dimensions of experience.
Entry description: A series of images of birch tree reflections in the ponds and streams of Acadia National Park, Maine.