Trained extensively in
music, I have drawn many parallels between music and
photography. For example, there are similarities between
musical counterpoint and the relationships between elements
in pictures; there are similarities between instrumentation
and the defining characteristics of cameras. As a musician,
I became accustomed to the rigors of practice and developing
technique. Practice and technique are as fundamental to
photography as they are to musical performance.
I began my studies in
camera obscura while studying traditional black & white photography under Dylan Vitone at
Pittsburgh Filmmakers. I experimented extensively with
camera focal lengths, film planes, angles of view, and the
pinholes themselves--aspects of photography that are as
pervasive and variable as tonality and timbre in music.
Like a musician who
composes a simple motif, then shapes it into a phrase, and
finally a movement, I began with the architecture of
Pittsburgh, exploring various interpretations, creating
associations between light, shadow, proximity, and point of
view. Over the next two years I developed a composite of
related images, all made from subjects found in and around
Pittsburgh. These pictures evolved into the
series Pittsburgh Staccato.