GLASS BLOCK SERIES
Photograph - Pink Cyclamen
"Pink Cyclamen"
Photograph- Sundulations
"Sundulations"
Photograph - Red Cyclamen
"Red Cyclamen"
 
WINDOW SERIES
Photograph - Winter Morning
"Winter Morning"
"Silhouette"
Photograph - Summer Rain
"Summer Rain"
 
Photograph - Daisies On The Sill
"Daisies on the Sill"
"Nasturtiums on Sill"
Photograph - Red Carnations
"Red Carnations on the Sill"
 
Photograph - Translucent Tulips
"Translucent Tulips"
Photograph - Tap-Dancing at TAC
"Arc Of Tulips"
Photograph - Sunny Freesias
"Sunny Freesias"
 
Photograph - Bird In Window
"Bird in the Window"
Photograph - Fluid Reflections
"Fluid Reflections"
Photograph - Tap-Dancing at TAC
"Tap-Dancing at TAC"
 
PATTERNS OF LIGHT AND SHADOW
Photograph - Orchid
"Orchid"
"Spotlit Mums"
"Shimmering Shells"
 
Photograph - Votrex
'Vortex"
Photograph - Sun Wave
"Sun Wave"
Photograph - Dazzle
"Dazzle"
 
Photograph - Abandoned Checkerboard
"Abandoned Checkerboard"
Photograph - Autumn Greenhouse
"Autumn Greenhouse"
Photograph - Golden Poplars
"Golden Poplars"
 
Photograph - Old Pew
"Old Pew"
Photograph - Salz - A - Dancing
"Salz-a-Dancing"
Photograph - Embedded Torso
"Embedded Torso"
 
These images may be available upon request as an inkjet or giclée print.
See Artwork Reproductions

I have been a serious photographer since 1970 when I was living in New York City (the year my father and grandmother died). Most places I have lived since that time I have had my own darkroom. I have done my own printing in color and black/white throughout the years. I went professional with my photography (color and hand-tinted work) after moving to the West Coast in 1989. In  the mid-nineties, watercolors eclipsed my photography work as my primary means of making a living. I came to see that my photography very much informed my sense of composition and color in painting, and there were still many ways the two media criss-crossed each other.

 As is often true of photographers, the subject matter is varied because it is a response to whatever draws one’s eye, wherever there are emotional and visual affinities. Because my professional life in the seventies in New York teaching emotionally disturbed adolescents was confrontative, stressful and very demanding -- as was life in the City as well, photography became for me a balm, a respite, a way to find serenity and solitude. So while many of my peers were drawn to the drama of the City and taking gritty black and white street portraits, I shot mostly interiors, “found” still lifes or when I traveled. I preferred color at a time when it was derided as “snapshots.” The phrase “pretty pictures” was damning praise. I can still recall during that period the first ever color photography show at the Museum of Modern Art.  Serious photography at that time and for many more years thereafter was black and white. An exception and early inspiration was the exquisite color work of Marie Cosindas. I had the exciting and fortuitous opportunity to take a workshop with her a few weeks after I moved to California.

 I have tended to use a limited palette in my photography, which can range from the saturated reds of the Cibachrome process to softer, more painterly tones of C prints and even softer pastel-like hand-tinted work. I have been told that my photographs are like paintings and my paintings are like photographs.

 Though I am less active in exhibiting my photography professionally, I continue to shoot since the camera has always felt like a lover. Trekking around photographing on my own more intensely and intimately connects my interior and exterior worlds. It is as zen an experience as one can have. Recently, as is the case with just about every professional photographer I know,  I have switched to a digital camera and play with the images in Photoshop in some of the same ways I used to manipulate them in the darkroom, but with an infinitely wider array of options.


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