Remember when you were four years old and you caught a tiny bird in your hands and no one believed you and you opened your hands and the bird flew out of them to the amazement of your mom and dad? Maybe the only image you can summon into your head is a little bird flying around in the kitchen. You try, but can't recall catching the bird. You have no memory of opening your hands. Nobody knows what happened to the bird. At the very edge of your memory is a place where distinctions become blurred. In this place reality and imagination collide in such a way that the real and the unreal come together in a vivid memory of something that might or might not have happened. I photograph these places, recording events that lie just outside your memory. My hope is that they will trigger something in your psyche, and you will remember¬Ě a story from a distant time and place. About Me When I was in the fourth grade, I attended the Emerson School in Bozeman, Montana. My teacher was Mrs. Currie. She was a great teacher for a disruptive and hyperactive boy. That was also the year I got my first camera. As an example of how circular life can be, note that I am still hyperactive, I still have my first camera, and I still spend a fair amount of time in my former fourth grade classroom, which is now my studio, in what is now the Emerson Cultural Center. In addition to attending Emerson School, my educational background includes a B.A. in physics from Middlebury College, and a M.F.A. in photography from the University of Oregon. I have had numerous public showings of my work and received a number of awards including an artist's support grant from the Poloroid Corporation. I also teach a variety of photographic classes and workshops. About My Techniques and Processes For me, photography is all about how to capture shadows and light in a way that reflects both the beauty of the world and our interior landscape. To do this, I use a variety of cameras, some are unusual (including a panoramic camera with a moving lens) and others are homemade. I photograph the world as I find it, but I use the unusual qualities of my cameras to look at the scenes I stumble across with a fresh point of view. I use traditional (in this time of burgeoning digital media, some might even say archaic) photographic films and papers. All the emulsions I use are based on the chemistry of rare metal salts, primarily silver, platinum and palladium salts. I make a number of these emulsions myself, hand painting them onto fine art papers. I also use commercially available silver halide papers. Black and white photographs using these processes have a luminosity, depth and range of tonalities that cannot be matched by digital processing. Photographic papers also have proven archival stability, enabling them to last for hundreds of years. I hand process my prints to museum archival standards and mount them in acid free mats to ensure maximum longevity.

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