The Process

Photography begins long before a camera is raised. For me, the process starts with presence — with returning to places, waiting through conditions, and allowing light and landscape to reveal themselves without force. The work is shaped as much by patience as by intention, by stillness as by timing. A photograph is not taken so much as it is arrived at.

When I make an image, I am not chasing moments. I am listening for them. Water, land, weather, and movement are allowed to unfold on their own terms until the frame feels resolved rather than captured. The photograph is a distillation of that experience — not a record of activity, but an invitation to slow down and see more clearly.

Materials, Permanence, and Process

The way an image is printed matters as much as how it is seen. I work with a small number of photographic processes chosen for their integrity, longevity, and relationship to history, rather than convenience or trend. Each technique carries its own lineage and character, and each is selected deliberately in service of the image, the environment it will inhabit, and the experience it offers over time.

carbon transfer prints

Carbon transfer printing is among the rarest and most enduring photographic processes ever developed. Originating in the mid-1800s, it was long considered the pinnacle of photographic printing, often referred to as the Rolls-Royce of photographic processes. Carbon prints are made from pure pigments rather than dyes, producing exceptional tonal depth and permanence. Fewer than ten thousand true carbon transfer prints are estimated to exist worldwide today. After largely disappearing for decades, the process has only recently been revived by a small number of practitioners committed to its exacting demands.

platinum palladium prints

Platinum-palladium printing is equally historic and revered, prized for its subtle tonal range and extraordinary archival stability. Particularly suited to black-and-white imagery, platinum-based prints do not sit on the surface of the paper but become part of it, resulting in images capable of lasting for centuries under proper conditions. The process rewards restraint, nuance, and sustained viewing.

Dye Infused Metal Panels

Direct dye infused metal printing represents a contemporary evolution in photographic printing. In this process, dyes are infused directly into a specially coated aluminum surface, creating images that are highly durable and resistant to moisture, abrasion, and ultraviolet (UV) exposure. While newer than noble-metal processes, fused metal prints offer excellent archival ratings, commonly estimated at up to a century and are particularly well suited to environments where durability and light exposure are important considerations.

Pigmented Ink Prints

Pigmented ink printing is one of the most widely respected and museum-accepted photographic processes in contemporary fine art. When executed properly, using archival pigment inks and fine art papers, it offers exceptional tonal subtlety, color accuracy, and longevity. This process is particularly well suited for images that rely on atmosphere, texture, and quiet transitions rather than scale or surface impact.

For my pigmented ink prints, I use museum-grade archival inks printed on fine art baryta satin paper. This paper combines the depth and richness associated with traditional photographic papers with the stability and permanence of modern materials. The surface allows for deep blacks, refined highlights, and smooth tonal transitions, preserving the delicate layers present in snow, fog, rain, and other weather-driven landscapes.

Pigmented ink prints excel at intimate viewing distances. They reward time and proximity, revealing fine detail and texture that can be overlooked at larger scales. This makes the process ideal for contemplative works, quieter scenes, and images where restraint and subtlety are central to the experience.

Each pigmented ink print is produced in a limited edition, signed and numbered by the artist. Editions are intentionally kept separate from other processes, allowing each image and medium to stand on its own with clarity and integrity. When properly cared for, archival pigment prints offer excellent color stability and longevity, making them suitable for long-term collection and display in both private and institutional settings.

These processes are not interchangeable. Each is chosen for how it honors the character of the image and how it endures over time.

From Image to Object

A finished print is not a reproduction of a photograph, it is its final physical expression. Every piece is produced as a museum-grade, limited edition work, carefully finished and signed. Materials are selected for stability and permanence, and each print is made with the expectation that it will be lived with, not cycled through. The goal is not novelty, but longevity, work that continues to reveal itself slowly, years after it is first encountered.

This is the process: presence, intention, execution, and permanence, from what was seen to what is held.