I've included this section for the clamoring fans who want to know more about me (okay, so maybe it's only my mother). Well, here it is, mom: the Photographer Bio, Statement, Awards, and some information about the prints.

I worked at a community hospital cardio-pulmonary department for ten years and ran a pulmonary lab. I became interested in computers and, independantly, learned programming and ultimately wrote medical software for pulmonary function and arterial blood gas interpretation. These were successful efforts that were implemented and got good reviews. I later went on to technical writing, specifically for the dBase database management system. In 1992 I got a mathematics degree, did some teaching in classrooms but found that I preferred private tutoring, which I enjoyed immensely.

For twenty-five years, my free time was spent cycling and backpacking. Traveling in that manner allowed me to see and fully appreciate the sights of my journeys, and to feel them—the cold, the heat, the wind, and whatever else the environment delivered. This, to me, was really living, and I always had a camera to preserve something of the experience.

In 1996, degenerative spine disease forced me off the bicycles entirely. Over the course of several years, photography became a major interest. Initially, I wanted merely to make some 'pretty pictures' and to preserve some 'moments.' I still make some of those photographs, but somewhere along the way, I discovered that I could do more than that.

I now mostly look for opportunities to tell or suggest stories in a single frame, and to evoke emotional and intellectual considerations. I look at line, structure, perspective, dominant and subordinate elements, and consider contrast, color, and grayscale in my prints to elicit mood and feeling.

Each photograph is a slice of life, in the manner of peelings from an onion: thin shells of time and space, surrounding and surrounded by other shells. I offer slivers of life and try to give viewers a sense of discovery and being there.

I don't have a huge interest in making "McPhotos." Simple, pretty pictures are nice, and I make them. But really good photographs can enliven a room rather than merely decorate it. They present something unexpected, elicit a reaction or response, or suggest stories of what is, was, or will be.

I don't blur, diffuse or otherwise affect my photographs to mimic other art forms. Water colors, sketches and oil paintings are the domain of other artists: my photographs look like photographs. I present subjects in a manner that reveals the strengths of the art form with continuous tones, luminosity, and generosity of detail.

Living with photographs that we especially enjoy, and seeing them on our walls daily, can affect our mood and disposition in positive ways. We can relate to them and the stories that they present. They stimulate us to slow down and perceive the world and lives that surround us, and they may serve as tethers to the real world in the face of commercial and media fantasies. We shall be better lovers.

When making a photograph, my end goal is to create a print. Digital presentation has it's place, but such presentations are transient. Prints add a tactile element, and also a sense of permanence to the image and it's story. Most of my monochrome prints are made with a Lightjet printer, and most of my color prints are made with inkjet printers and pigment inks.

My monochrome exhibition prints are made with the Lightjet on gelatin silver baryta paper. Baryta papers have barium sulphate applied to the paper fiber. This yields denser blacks, brighter highlights, and finer detail in prints. Archival characteristics are also improved.

The LightJet printers expose light sensitive paper with lasers, and it is recognized as the most precise photo imager in the world. These are not giclée or inkjet reproductions. They are true gelatin silver photographic prints with the wide color and grayscale gamuts, luminosity, and archival properties that we are accustomed to seeing in exquisite photography. There are no dots; this is a continuous tone imaging process. The LightJet people claim that an inkjet printer would need a resolution of 4000 dpi or more to equal the resolution of the LightJet. That may be an overstatement, and there is, after all, a lot more going on in a fine print than the number of dots. But the images produced by the LightJet have earned it worldwide respect and put it at the top of the industry.

Many currrent inkjet printers produce a slightly wider color gamut than the Lightjet and good archival ratings when used with pigment inks. Their ability to produce fine detail is excellent. Prints from these devices are less costly than gelatin silver prints.

Please contact me by email at eep@LightPreserve.com if you are interested in acquiring a print.