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.

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, but I'm still able to take short hikes with a pack if I keep the weight on my hips. My experiences on the trail and on the bicycle provide me with strong, personal insight into what the view "feels" like. I look for ways to capture not only what I see, but how it feels to be there to see it. My relevant work in graphic arts, telecommunications and film has given me experience and skill to deliver that feeling. I look for opportunities in line, structure, perspective, dominant and subordinate elements, and I use contrast and color in my prints to elicit the mood and feeling of being there.

Photography enables me to preserve, share and communicate the beauty of the real world in which we live, with a diverse set of emotions in perceiving that world. Each photograph is a slice of something real, in the manner of peelings from an onion: thin shells of time and space, surrounding and surrounded by other shells. From lonely solitude to the joy of shared vistas, I offer slivers of reality and try to put my audience into a sense of discovery and being there.

I use the art, craft and magic of photography to create invigorating views of our world. My goal is not to document reality, but rather to reveal it, explore it and create images that allow others to appreciate and experience it. Photographers are advised to "expose for the shadows and print for the highlights." I take that a step further and expose for the view and print for the mood. I try to expose the film or photo sensor to a refreshing and stimulating composition, and then take further control of color and contrast in the print - not to change the view, but to achieve an image that elicits the feeling of being there.

I have no interest in making "McPhotos." A pretty scene is not enough; I want my images to enliven a room rather than merely decorate it. There must be impact to gain our attention and a personal response to further our appreciation of "being there." I work with light and composition to convey the mood and feel of what I see and what really is. When we see a stunning vista, there is some graphic structure to it that commands our attention and there is color and content that elicit our response. My photographs work with that structure to establish impact and they work with color to support a mood. These elements are the light and polish that make the gems of nature and humanity sparkle.

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 tone color, 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 their reality. They stimulate us to slow down and perceive the beauty that surrounds us, and they may serve as tethers to the real world in the face of commercial and media fantasies. We shall be better lovers.

Until 2009, I owned only film cameras: 35mm and 6x7 medium format. Although I expect to continue using the 6x7 film camera, I'll now use digital for subjects I previously photographed with 35mm film.

Still, I've embraced the digital photography revolution for years. When I've got a good image on film, I scan it with the big Nikon film scanner. This gives me about 24 megapixels from 35mm film. My scans yield 100 megapixels (!) from medium format film. Everything I used to do in the darkroom is now done digitally. Completed image files are then loaded to a LightJet or Noritsu printer, and projected by laser light onto Fuji Crystal Archive chromogenic paper, or loaded to the Epson 7880 with 8-color UltraChrome K3TM inks.

The LightJet 5000 exposes light sensitive paper with red, green and blue lasers, and it is recognized as the most precise photo imager in the world. These are not giclée or inkjet reproductions. They are true photographic prints with the wide color gamut, luminosity and archival properties that we are accustomed to seeing in exquisite color 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 5000. 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.

The newer Noritsu printers have not yet earned the reputation of the LightJet, but they demonstrate one reason that I outsource my completed files rather than investing in a high-end printer. They are among the latest generation of continuous tone laser-light printers and follow the LightJet as "the new kids on the block." Since I have no need to amortize hardware costs, I have already put the new kid to work. When used with Fuji Crystal Archive paper, the results are equal to the LightJet. The LightJet, however, can handle larger print sizes.

Fuji Crystal Archive Paper is one of Fuji's premier photographic papers. It is exceptionally sharp, with rich tonal gradation, excellent color saturation, and unsurpassed color stability. In independent tests conducted by Wilhelm Imaging Research, Crystal Archive paper is rated nearly twice the display longevity of all other chromogenic papers tested.

The Epson 7880 has a slightly wider color gamut than the Lightjet or Noritsu and Fuji paper, though not quite so brilliant overall. It has a longer archival rating when used with Ultrachrome inks. The 7880 is a premium choice for many color and monochrome prints, but it can't match the Lightjet or Noritsu for dense blacks and saturation of dark colors. It's ability to produce fine detail is excellent.