Landscape photography, from a professional standpoint, requires constant patience, acute awareness, and continued perseverance. One can plan meticulously, trying to minimize the unexpected with maps, accessories, and every app imaginable, but once the camera comes out, adaptation is paramount. Nature is indifferent to our wishes; it simply is. And within that truth lies a certain serendipity when that decisive moment arrives. It is among the shifting weather, changing light, and unpredictable terrain we find our flow state.

My exploration of the American landscape has provided an inexhaustible well of peace to draw from throughout my life. My growth as both a photographer and human being has coincided with its exploration, and it is this from which my work springs. Wishing to share these spaces with others, I strive to honor their truth, careful not to stray far from the beauty they already hold. I aim to use my lens as an emotional tool— organizing form, light, and color to let nature to speak for itself, a tradition grounded in the views of the Romantics.

My work as a studio photographer has given me an acute sensitivity to color, and this, matched with an ongoing study of natural light (instilled from my early appreciation for cinematography), guide these edits. I edit not to alter, but to translate—shaping what was felt into what can be seen. Each scene becomes a puzzle to unlock, and as such, a preset will never do. There are often scales of adjustment made that seem so minute that one could say they border on obsession, but in the end, it is those small choices that will be felt, if only subconsciously.

The land continues on whether we direct our gaze towards it or not, and there is a sublime beauty in that fact, but we have the unique capability as humans to destroy it. There is a need to respect the delicate balance in which it operates, the symbiotic relationship it maintains with all living things, because there is a real fear that in the near future these lands may, in fact, only reside in photographs.