I also do my own processing, so it means a big commitment in lab time.

Essentially, in photography, I think on two levels: one emotional and the other technical. The emotional impact has to do with looking for something dramatic happening in the photograph, something that reaches out and touches somebody in some way. And the technical is having to do with composition and framing - light and dark, light and shadow.

You proceed from a false assumption: I have no ego to bruise.

Boston was a great city to grow up in, and it probably still is. We were surrounded by two very important elements: academia and the arts. I was surrounded by theater, music, dance, museums. And I learned how to sail on the Charles River. So I had a great childhood in Boston. It was wonderful.

Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.

I am a great believer in what we've been told time and time again by people like Joseph Campbell, "find your bliss." Find out what it is that touches you most deeply. Pursue it, learn about it, explore it, expand on it. Live with it and nurture it. Find your own way and make your own contribution. Find a way to make a contribution to this society because God knows we need contributions from the coming generation. This planet and this civilization is in need. I see it as a time of need.

My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.