I live in the beautiful San Francisco Bay Area, where a huge variety of glorious landscapes beckon to my
camera daily. Stunning redwood forests, rugged coastline, vineyard-lined valleys and gently rolling hills provide endless exploration and creative opportunities.
As a native of the rugged and rural Trinity Alps in northern California, I developed a deep appreciation for the natural landscape at an early age. Nothing has ever suited me better than an all-day wander across the countryside, using my camera to compose a vision of the perfect world.
I began experimenting with infrared photography a few years ago. The first pictures I made were of the magnificent grounds of the Palace of Fine Arts in San Francisco. The photos had a ghostly, antique look: The serpentine lagoon appeared black and still; the weeping willow looked like a giant, pure white powder puff. The overall effect was mesmerizing, and I was hooked on the surreal, uncanny aesthetic. I wanted to make more pictures like this all day, every day, forever.
Today, the infrared effect continues to captivate me. The medium allows me to develop my vision of soft, dreamy landscapes that suggest a slightly fantastical view of the world around us: real, but unreal. Using infrared photography to reveal the strange beauty that lies just outside our natural vision feels like a tremendous gift.
I have always been led by an unremitting desire to make beautiful (and sometimes useful) things. When I’m not working on infrared photography, I might be sewing an elegant silk gown, building furniture in the metal shop, or creating a new painting from oil paints I made by hand.