The World You Can't See

My photography began nearly twenty years ago in the mountains of Colorado, where wildlife, weather, and landscape were part of everyday life. One moment stayed with me: studying lichen growing across decomposing granite and becoming fascinated by the miniature world of color and structure revealed through the camera. I remember thinking, “I want to show people the world they can't see.”

After stepping away from photography for several years, I returned in late 2025 with a very different way of seeing. Macro photography became the bridge. At high magnification, familiar natural subjects became something else entirely. Resin glands, veins, ice, petals, and translucent structures stopped being details and became landscapes, architecture, pattern, and abstraction.

That transition began with Deep Black in late 2025, followed by dew studies and then a concentrated exploration of ice. Working in a controlled studio environment, I began shaping natural materials and using light, color, scale, and composition to reveal structures that are difficult or impossible to see with the unaided eye.

Botanicals extended that exploration into living material. I grow many of my subjects myself, which allows me to observe them throughout their life cycle rather than only at peak bloom. Emerging structures, mature flowers, aging surfaces, and forms that may exist for only a few days all become potential subjects. The work moves between representation and abstraction while remaining grounded in the physical character of the original material.

My studio practice is experimental by design. I continually explore new approaches to scale, light, color, isolation, and abstraction rather than developing around a single visual treatment. The resulting photographs can take markedly different forms while retaining a recognizable visual identity.

Decades working in technology, consulting, and large-scale program management also shape the way I work. I am comfortable with complex systems, experimentation, iteration, and failure. In the studio that becomes a simple process: observe, test, adjust, and keep going deeper.

Nearly twenty years after that moment with the lichen in Colorado, the idea remains the same: I want to show people the world they can't see.