After high school, stuffed with classes steering him toward a math or science career, John moved to the beach and surfed for the better part of a dozen years, starting and finishing college between travels up and down the coast tracking waves. He put himself through school working in surf shops. After college, working as a teacher, John decided he needed some more college and a high school teaching job and returned to school. A vacation to the Pacific Northwest and a loaned camera caused a radical rethinking of what he had been doing. He had been working in art, he had been doing photography, but on this trip the camera allowed him to see in a fresh new way, to surrender to the world's illusion in a different way, and he liked that silver image.

Returning to school John concentrated on photo classes. At about this same time he began doing freelance work shooting for designers and fine artists, shooting commercial work and artists portfolios. John did a series of gum bichromates that were shown in gallery and university shows, but he was more interested in a developing series of black and white work. John's early heroes were in the work of R. Frank, W. Evans, Kertesz, and Lee Friedlander. After years of working in corporate, portrait and landscape photography he added Edgerton, Meatyard and Siskind to that list.

During this same period, some time ago, John began a constant dialogue with himself about vision and seeing. What of ultra short or very long exposures, producing images that had been inaccessible in human vision? Images and techniques that stretch or shrink perception, images that let in the wind and movement and images that keep the light measured in thousandths of a second, freezing the world. It is to this thought that he began customizing cameras to fit his changing vision.

These images reflect a continued evolving vision.

Thanks for looking.

Come back often. We'll leave the shutter open for you.