The World You Can't See

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

Life eventually pulled photography into the background, but after moving to Weatherby Lake, Missouri, in 2025, I found my way back through macro photography. At high magnification, ordinary subjects became entire landscapes. Resin glands, veins, ice, petals, and translucent structures stopped being details and became the image itself.

That shift became tangible with Deep Black in late 2025, followed by Dew Drops on the Cattails and then Axial II, my first serious ice image. From there I began handcrafting ice, controlling its shape, transparency, color, and the way light moved through it. Botanicals followed almost by accident and quickly became another way to explore structure, light, and abstraction.

My approach to the studio is shaped by decades in technology, consulting, and large-scale program management. I have spent much of my career understanding complex systems, identifying constraints, testing solutions, and refining them until they work. I approach photography the same way: experiment, observe, adjust, and keep going deeper.

Nearly all of my current body of work has emerged from that convergence of artistic curiosity and engineering discipline. Ice taught me light. Macro taught me precision. Botanicals taught me that extraordinary forms can hide inside ordinary subjects.

Nearly twenty years after that moment with the lichen in Colorado, I understand the idea much more clearly. I want to show people the world they can't see.