I've always loved photography. As a teenager I rode my bike to my camera store jobs, learning all I could about equipment, technique, and style. In college I wrote letters for a year to the agents of famous NYC photographers. Finally, I had an offer. I was just a NYC photographer's assistant, but I was suddenly rubbing shoulders with some of the best photographers. Period.
Thrown into the proverbial deep end, I worked for two of the biggest name fashion photographers in 80's, mainly for American Vogue. After a few years the training wheels came off and I started my own photography business specializing in fashion and portraits. I styled my portraits using 50's glamor lighting techniques borrowed from the film days, while my fashion photography leaned toward Helmut Newton and Deborah Turbeville, for whom I assisted for a full year.
I continue to study the work of great photographers, a practice I believe is essential to developing photographic style. I have a deep respect and admiration for the work of top photographers from all disciplines. A photographer must have an eye for composition, light and beauty, or no equipment will save them. When taking photos, I look most eagerly to the aesthetic challenges, but a technical grounding is also essential.
Today, most of my work is interior design, architecture, and commercial photography. The subject must be shown and embellished. I take time to understand the work of my clients, develop ideas for capturing their work, then go to it.
After a photo shoot, I engage in a lengthy custom digital photo finishing process. In my digital lab I rely heavily on my prior experience as a computer specialist. Plenty of pixel coaxing replaces the hours of darkroom work I used to lovingly do in my bedroom darkroom, but it's no less artistic.
For me, commercial interior photography is an artistic process from start to finish. I sincerely hope the above interiors and architectural photos are your cup of tea.