The French have a different take on photography than Americans do. They consider photography to be absolutely parallel to literature. That often makes for a deeper perception of the work.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

I'm too impatient to use a tripod.

Traditionally, photography has dealt with recording the world as it is found. Before photography appeared the fine artists of the time, the painters and sculptors, concerned themselves with rendering reality with as much likeness as their skill enabled. Photography, however, made artistic reality much more available, more quickly and on a much broader scale.

I'm interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I'm not interested in the full-figure. I want to abstract forms.

It occurs to me that at the beginning one works passionately to learn photography. This takes years, and the craft is usually formed during this period. Then as time passes one finds oneself more in the role of serving the medium... Then, as in the example of several masters that I have been privileged to know personally, it appears that by having devoted oneself totally to the medium, one becomes photography.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.