I’m super excited to be heading to Kenya in December to photograph the Maasai Olympics, which are a collaboration between Big Life Foundation and local communities to offer an alternative to the traditional rite-of-passage for Maasai males of lion-hunting.  Because this is an expensive undertaking, I’ve launched a GoFundMe campaign to help defray the costs related to the trip.  Please click here to go to the campaign to learn more about the project and to donate!

Again, my apologies for being a bad “blogger.”  Don’t take my silence to mean that nothing’s happening…  Quite the opposite; when I don’t post, it means my life is such a whirlwind that I have very little free time.  Here is a quick update…

In addition to shooting in abandoned, declining, and depopulated locations for the project I’ve renamed “In absentia,” I’ve been doing a great deal of pinhole photography.  What started as a pinhole-a-day self-assignment, has developed into a project called “Reconciliation” where I do self-portraits in different natural settings.  By embracing pinhole’s long exposures, I create images where my likeness blends in with that of the natural world, resetting a modicum of balance in the relationship between man and nature that’s become incredibly off-kilter.  In these images, I don’t lord over nature, and it doesn’t serve me; we blend into one.

I’ve also begun to photograph coastal areas, such as those in North Carolina and Louisiana, that are most at risk due to climate change, and I hope to travel to Kenya in December to photograph the Maasai Olympics and anti-poaching units that are working toward wildlife preservation.

I currently have work in Red Light, an all-analog show in Toronto that’s part of the Contact Photo Festival, as well as Laurel Hill Circa…, a show that celebrates the 40th anniversary of the Friends of Laurel Hill Cemetery in Philadelphia.  I will also be part of the Analog show at GreenHill Center of NC Art in Greensboro from July through November 2018.

And as you can see, I’ve also revamped the site again.  It was challenging trying to make the site design conform to my conceptual vision of my work and its phases, so I returned to a more standard design that features current projects and those past that I’m no longer working on but still want to share.  Below are the categories from the previous version of the site, because although the site is no longer configured that way, I feel that the life-and-work timeline is still very relevant.

PAST:  When I was younger, I was surrounded by fascinating people, traveled to amazing places, and photographed what touched me personally.  Life wasn’t always easy, but it was largely beautiful.

PRESENT: Slowly, the ugliness started to seep in.  I began to notice people who were disconnected, self-absorbed, and completely and willingly oblivious to their surroundings and the impact of their actions.  I acknowledged the enormous amount of waste our society produces, as well as a willingness to abandon and create greater excess rather than to fix or restore.  A disconnect between our possessions, where they begin, and how they end.  I began to notice the  bizarre constructs and the relationships with the natural world that we create.  I turned my camera on these negative aspects of society, both fascinated and repulsed by them.

FUTURE: When I look ahead – toward the ultimate outcome of our collective behavior as a species – I find beauty in what I see, in spite of the negative implications.  The downward trajectory of humankind written in osteological specimens, light and nature reclaiming our derelict spaces, the return to the elemental…  I find myself seeking out what provides me with a glimpse into this post-anthropocentric age.  It makes me hopeful that eventually, balance will be restored.

Perhaps the biggest news – that I saved till last – is that I recently moved back to Philadelphia, where I’ll be able to work more closely with The Halide Project.  It was hard to say “good bye” to the photographers I met volunteering with Click! and the group of photographers that had begun to coalesce around the Durham Arts Council, but I’m confident that both will continue to grow in my absence!

First, my apologies for being a less than stellar “blogger.”

There is a lot going on this fall!  The Click! Photo Festival is in full swing here in the Triangle.  And although the concentrated “Click!120” is over, there is still a lot of photography to see and experience through the end of October.  The above image from the Borscht Belt series is on view in the Resist show on view at Watts Grocery in Durham.

My darkroom series at the Durham Arts Council continues this month with a film processing workshop and will be followed by Intro to Darkroom Printing in November and Pinhole Photography in December.  I also have monthly group critiques scheduled, so if you’re looking to get feedback on your work, please join us!

And last, but certainly not least, The Halide Project’s call-for-entries exhibition, Living Image, is on view at Gravy Studios in Philadelphia through the end of October.  Curated by John Caperton from The Print Center, the show features a wide variety of traditional and alternative process images, and educational programming is scheduled throughout the month.  THP is also excited to announce that we signed a lease for a community workspace which will house our community darkroom and gallery space.  Please click here for all the recent THP goings-on.


This summer, I’ll be teaching some workshops and leading monthly critiques at the Durham Arts Council.

On June 18th, I’ll be teaching cyanotype, and on July 17th, I’ll be doing a darkroom orientation/ B&W printing basics workshop.

Critiques will be held on June 25th and July 30th and are open to anyone who has prints to share!

Details about my summer DAC offerings can be found here.