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Twelve years ago, after a career changing injury, I turned my full attention to photography. I was disillusioned to find that much of my earlier work from 25 years prior was beginning to show signs of deterioration. I did not want to spend my time working in a graphic art form with materials that caused the end result to self-destruct. Since the 1850's it has been well documented that silver-based photographic materials have a problem with long-term image permanence.

Living in Tucson, I was fortunate to utilize the renowned resource of the University of Arizona's Center for Creative Photography. I researched how one could make a permanent photograph, one that would last as long as the substrate that it is printed on. There were the cyanotype, an iron process; the carbon print, using graphite; and the platinum print, using platinum metal salts. Viewing examples of each, I was drawn to the platinotype with its warm tonal scale, and sharp as a tack image requiring a large format negative the same size as the image. The platinotype image, contact printed on cotton paper with a hand coated emulsion, is photographically etched into the fibers of the paper.

In looking at early photographic images, I was drawn to three photographers in particular: Eduard Steichen, Edward Curtis and Alfred Steiglitz. All produced portraits of people that captured a soul within them for me.

With my travel around the world as a health consultant, I carry my 8x10 camera with me and specialize in nighttime architectural studies printed in platinum.

My work has been acquired by the Library of Congress, The Bibliotecque Nationale de France, The Smithsonian Institution and other museums internationally.