About Us

Online since 1999, this website is a consequence of a lifetime of passion and enthusiasm for the natural world, over forty years of experience photographing that world, and a desire to share experiences in that world through the medium of photography. We began offering the landscape, nature, and wildlife photographs on this website to celebrate nature and inspire its preservation. Many of them have since become memorials to animals and places that no longer exist and experiences that can no longer be had. As people and their trappings replace nature around the globe, I now realize that this is the ultimate fate of all my photographs.

Photography was initially my way of seeing and celebrating nature, but it eventually brought me to realize that the world is dying right before my eyes. Since then my celebrations of nature are bittersweet. Unspoiled landscapes and wildlife are disappearing at an astonishing pace, and many photographic opportunities that were common when I started are rare or nonexistent today. This drives me to see and photograph as much of nature as I can before it is degraded or gone. My relationship with the natural world is among my greatest treasures. Photographing nature brings rewards that are intangible, allowing me to share my view of the natural world and at the same time helping me to see my subjects in a much more intimate way. Concern and respect for my subjects is the driving force behind my photography. I think that a personal connection with one’s subjects and knowledge of them are prerequisites for the creation of compelling images.

The photographs on this website are my attempt to show the essence of my subjects, all of which are diminishing. They are statements saying "This exists in our world." They are questions of conscience, asking how we can knowingly wipe these places and beings from the face of the planet, robbing them from the future, and claim any morality. They are a hope that more people might realize that destroying nature is destroying humanity's future. To these ends my goal is to present the unblemished face of nature, without obvious signs of modern human presence. I always hope that my photographs convey to others the wonder, awe, mystery and joy that existed when the images were captured.

General: My fundamental connection with nature began in early childhood, playing in the woodlands around my family's rural Ohio farm. Using a free Kodak Instamatic 100 camera that my mother was given as a promotional item, I developed an interest in photography at the age of 11. I was only interested in photographing nature then, and that is still true today. I worked part time in a pizza shop and as a substitute school janitor to help pay university fees. In my middle 20s, after too many years spent studying theoretical mathematics and physics, I got my first real job. At the time I had never been more than a five hour drive from home. That changed when I first traveled to the deserts of the Southwestern United States in the late 1970s. That trip was a profound experience that merged my connection with nature and my interest in photography into a lifelong passion.

Ten years later that passion led me to start my own engineering consultation business to allow more time for travel and photography. My photography trips totaled roughly three months per year for the next thirty years. This allowed me to photograph extensively in the United States and to photograph some extremely endangered wildlife in Peninsular Malaysia and on the island of Borneo. The experiences are priceless. The lost wages are forgotten.

Printmaking: Printmaking is very satisfying because it converts the time, effort, joy, pain, and expense of capturing images into long lasting and hopefully beautiful physical objects. My first photographic prints were made in high school during the days of film and darkrooms. I began experimenting with digital printing in 1997. In 2000 digital photographic printers became available that could produce prints that would not fade noticeably for more than a century. Their longevity exceeded that of previous color processes and improved to exceed silver gelatin monochrome processes. I began printing all of my own photographs digitally. Printing my own photographs allowed a consistent visual interpretation from my first view of a scene in the field all the way through to the finished print. That's important, since no one except the photographer can know how the scene originally looked through the photographer's eyes. A decade later I was also making prints for a few other photographers, reproducing works for painters and other visual artists, and digitally restoring and printing historically significant photographs for corporate and private collections. I used the the most advanced tools, materials and processes available to do this for the next twelve years.

Print Sales: I sold prints of my own images through a number of art galleries and at arts festivals. That necessitated acquiring the skills, tools, and materials to archivally mount, mat, and frame the prints. The tools and materials tightly occupied a room of about 30 x 15 feet (9 x 4.5 meters) in our basement. My wife helped substantially with some of the work, in addition to managing all of the logistical and financial aspects of that business. In the end our efforts were successful, but the amount of time and effort we invested over the 12 year period was ridiculous. I almost regret having done it, but I acquired a wealth of knowledge during those years and met some incredibly talented people. With all of that said, I'd never do it again. The 2020 pandemic all but stopped our print sales.

Publishing: In 1988 my first photograph was published. It was an image of sand dunes in California's Death Valley National Park. Unfortunately I discovered it was published only when I found it on display at park visitor center a few years after the fact. I eventually obtained financial compensation but it was completely absorbed by my attorney fees. Since then my images have been published in about twenty-five countries distributed across Europe, North America, and South Asia.

Ending and Beginning: In March of 2020 I was photographing landscapes in Utah when the COVID pandemic forced me to go home early. I ended my engineering consultation business about two months later. The printmaking business followed. After a few years of occasional discussion, my wife and I made the decision to live in Australia during the pandemic. With our only close family there and feeling like foreigners in our home country, the correct decison was obvious. It all boils down to one sentence from a Pierce Brown book that says, "Home isn't where you're from, it's where you find light when all grows dark."  We found light in Australia. It comes from our family, the friends we have made, and the welcoming society, not to mention the place itself. We are content, and fortunate. These days I spend much of my time outdoors, and my photography concentrates on field work. That's what originally drew me to photography, and now it helps me to experience and learn about the continent's ecosystems and their inhabitants.