I got my first exposure to cameras and imagery when I saw my mom’s photos from the local rodeos. Her camera was an early Canon, some manual affair with fixed lens, and the images back from the lab captivated me: the vibrancy of the colors, the frozen violence of divergent wills, the depths I could only now perceive–especially intriguing because I’d been by her side for the shoots, and the sync of the images to memory solidified within my lobes.

I kept it up and it’s challenged and intrigued me in so many ways, perhaps especially in considering time and perspective. I mean to draw attention to the different spatial and chronological differences that attend disparate locations, times, subjects, equipment, and especially within the realm of long exposure photography. I find the thoughtfulness that attends calculating lengthy exposures wildly different from street photography’s demand for reflexive intuition, and at least equally different to portraits as to architectural spreads.

Within the images I showcase I hope to convey some of my sense of the scene, and of myself in the scene. I continue to find fascination with photography for numerous reasons, more basic among them the sense of time extended, the particular grain of any given scene, along with the potential for almost unlimited narrative exposition.

And of course, all the colors blazingly vibrant in their spectacular divergences, the stilled motions of the dynamic moment, my own breath pregnant and still, my mind alive with calculations…the glory of the ephemeral scene that can only exist on in reflection, from whatever angle and under whatever light. It’s quite lovely to be so still sometimes.