This  project Before Ever After  was less about documenting the dwindling 
species than it was an effort re-present them in a distinctly contemporary way. The images are to serve as a reminder that such animals are not mythical beasts, but earthly proprietors whose human tenants are both their greatest danger and only hope. Forsaking  novelty for personhood, the work argues  that animals are beings as deserving of the protections we expect ourselves.

Icelandic Sagas – embellished stories of Viking life describe the use of crystal called a Sunstone to navigate the waters between Greenland and Iceland.   The crystals would split the light spectrum apart and create multiple images within its mass.  Theese images pay a critical nod to this ancient optic by making un-filtered single in-camera exposures with a similar optic.
 

Captured in Western Australia, Utah's Great Salt Lake  and the Mojave Desert, this series of salt pans and dry lake beds investigates the hybridized result of human-made structures and organic forces. 








 


Aerial images of Tulip fields in Noordoostpolder, Netherlands.. Made during  the spring seasons of 2015 -2016 from an open door hellicopter and heavy lift drone with a high rezolution 100mp digital camera.







 
 


The Russian Metro is a lesson in Russia’s history and architecture.   As you make your way through the system, the history of the city’s past eighty years manifests itself before your eyes. The stations range in design, from palatial baroque marble and granite structures to modern iron and glass, revealing the aeshetics ideals , hopes and failures of communist Russia.
Purposefully Juxtaposed next to Russia’s finest cultural intuitions, these images reveal that these stations were conceived of as more than transitional spaces.   Instead, they were to be experienced as underground palaces, an extension of the urban fabric; a deliberate ideological move to eulogise the young Soviet country



 

My photography is discovery-driven and, like many photographers, I have an intense curiosity about the world around me. In this instance, I am photographing the landscape as a sort of dream state, where we float above and wander through its geology with no prescribed destination.  
I see each image as a specific essay on place, a survey of terrestrial phenomenon and the traces we as humans leave behind.  From the piles of sand infused with sacred significance to the ancient hillsides meticulously terraced from valley to peak, they seem to simply ask, “How do you, as human beings, experience the earth?”