I came to photography watching my father — landscape and astronomy, mostly, pursued with the kind of quiet seriousness that makes an impression on a kid without either of you realizing it. That was my education. No formal instruction, no single moment where a camera was handed over. Just years of watching someone look carefully at the world before deciding it was worth photographing.

When I started shooting myself, I started on film. Film is an unforgiving teacher. You have 36 frames, no instant review, and no way to fix what you got wrong without spending money you don't have. That constraint forces a kind of deliberateness that stays with you. You learn to read light before you raise the camera. You wait. You think about what you're actually looking at before you press the shutter.

I still shoot film. I also shoot digital, and I'd be dishonest if I said I didn't appreciate the freedom it gives — the ability to experiment in conditions that would have cost a fortune on a roll of Kodak, to adapt immediately when the light changes, to not be locked into whatever emulsion happens to be loaded. But the discipline that film built is still there in how I approach every frame, regardless of what I'm shooting on.

The work primarily covers landscape and travel. What those genres share isn't subject matter — it's scale and solitude. Empty roads. Open sky. The quiet that settles over a place when the crowds have gone. I'm drawn to what gets left behind: the ruins of old structures reclaimed slowly by the landscape around them, the places where human ambition ran out and nature moved back in.

At famous locations, I tend to look past the obvious frame. What interests me is the detail, the angle, the part of the place most visitors don't stop for. The Leaning Tower of Pisa is an amazing structure, but I am drawn to the textures and colors of the marble and stone of the tower.

The wide documentary shot tells you a place exists. The detail tells you what it's actually like to be there.

I don't wait for ideal conditions. Most of my favorite images were made in weather that most photographers would have packed up and gone home in — overcast light, the kind of flat gray that flattens everything until you find the one thing it doesn't. Any light is workable light if you know what you're looking at.

I'm based in Eugene, Oregon. The Pacific Northwest is home ground, but the work takes me further — European cities, high desert, coastline, the wide open spaces in between. The common thread isn't geography. It's the search for scale and quiet in a world that offers less of both all the time.

Prints are available through the shop. Licensing and collaboration inquiries are welcome — you can reach me through the [licensing page / contact form].