The initial communications with a new prospective client usually leaves me with a feeling, a gut feeling you could say. That gut feeling doesn’t always pan out as you hope or envision and sometimes you realize you were way off course, but those that do hold true are filed away in the old hard drive of the brain. I recall speaking with Andrea Browning of Model Design on a late afternoon in November, clicking the phone off and thinking, “I want to work with Model Design”. Andrea an interior designer and her husband, Jeff Browning, an architect; reminded me of my wife, Jennifer, and I, both photographers. Married and working together, to me always seemed like a perfect fit. I was surprised when people inquired how we could manage to handle that situation? I learned not everyone sees it as a perfect fit, so its refreshing when you do meet a prospective client you share something so integral in your professional and personal life. Andrea and I agreed to follow up again in the new year after the hectic holiday season was complete.

In January we reconnected to discuss the photography needs for Model Design, the new architecture and design company created by Andrea and Jeff. I made a trip north to scout and discuss projects so that I could produce an estimate for the scope of work. The three of us hit it off, a number of commonalities, from surfing to husband and wife work team to the kicker, Jeff has an Uncle Chip, yep, thanks Mom and Dad, the name seals the deal. As they were really beginning their marketing as a company, there was a substantial volume of work in need of documentation. Their work is outstanding, their projects illustrate their creativity as artists and their passion for their work. Once again the voice in my head, “I want to work with Model Design”.

There was one particular project that grabbed my attention. A renovation in San Pedro, a typical 1950’s ranch style home turned into a comfortable modern interior with sparkling iridescent glass tile. I have another client, Oceanside Glasstile, and I inquired with Andrea about her source for the glass tile, sure enough, Oceanside. Oceanside Glasstile is another client that is just tremendous, wonderful to work with and their glass tiles are exquisite. A perfect opportunity arose for Oceanside Glasstile, Model Design and myself, the opportunity to co-op on the photography of this unique project. I love to bring clients together for cooperative efforts for a number of reasons, one, why wouldn’t you want to improve your team by adding another star player and secondly, its a terrific opportunity to provide my clients with an even greater return on their photography investment. Shared costs and increased marketing exposure, its a no brainer. All the estimates approved and photography scheduled, I was looking forward to working with a talented creative team and capturing images.

This project was scheduled to be the final project on the first day of photography as it lent itself to the late afternoon and evening. The project held some challenges due to the financial meltdown and frozen lending markets. As a result, the project was not 100% complete, but the focus of photography, master bathroom and kitchen were 90% there, the remaining 10% would be completed by the construction company Adobe, aka Photoshop. They provide some terrific tools, but the end result is determined by the individual holding the tools. The other challenge confronted was the need for some elbow grease cleanup. The entire team, photographer, assistant, designer all rolled up the sleeves and went to work. I have tremendous respect for clients that dive into the malaise of cleanup and prep when the project requires, its all about a team, which is stronger than an individual. Once the focus turned to capturing the imagery, everything went as planned, the perfect project to complete the first day of Model Design photography.

The completed images represent the team, it begins with Oceanside Glasstile producing the finest glass tile available, the design vision of Model Design implementing the tile into their overall design and lastly the photographer brings their vision to an photographic image encompassing all the talent and artistry involved. That gut feeling, yep, it was nails on this assessment. I think the question/statement by my assistant after a long 12 hour day says it all, “How do you find these types of client? Because you’ve got the coolest clients”. My response, “I absolutely do”.

The San Diego Harbor boasts views of the Pt. Loma peninsula, downtown skyline and Coronado, breathtaking 360º views in this idyllic amphitheater. It is understandable that when Cabrillo discovered the harbor and its safe haven from the rugged seas of the Pacific he decided to stay for a stretch. People have been following Cabrillo’s lead for centuries, making San Diego home and creating an unquenchable demand for housing in America’s Finest City. If the height of the price tag dictates the level of demand, and it certainly does in real estate, the closer to the water the more zeroes trailing the $ you will find. As the remaining grains of sand and soil are developed upon land, where can growth occur, how can the thirst for waterfront property be quenched. You can build vertically, but that can tarnish the views to the priceless living natural artwork everyone desires to hang in each window of their home, the Pacific Ocean. Ocean view is another buzzword in the real estate market that equals those zeroes trailing the $. So what is the solution?

Ahh, yes, what could be better than waterfront living, how about actually living on the water. I’m not speaking of the Dubai approach of man made islands, which seem to try and compete with the natural world rather than exist in unison. And from some recent reports, Dubai Island Falling into the Sea, I think the natural world is going to win that bout just about every time, sometimes it may take a few extra rounds, but its going to when by decision, TKO or straight up KO eventually. So how do you build in unison, in a sustainable, complementary manner to the existing waterfront, well you engage the services of an architect, you hire Miller Hull. The Miller Hull Partnership of Seattle, Washington is recognized for there ability to develop and design sustainable, harmonious projects that enhance the land it stands upon. The project on the San Diego waterfront, Wharf at America’s Cup Harbor, is a perfect example of the vision and talents of Miller Hull.

To discuss and scout the project I met Robert Hull and Norman Strong of Miller Hull on a rainy Seattle like afternoon. Yes it does rain in San Diego….occasionally. After I accused and they pled guilty to bringing the Seattle weather along, we set forth with reviewing the project and discussing the needs of the images for Miller Hull. Asking questions and listening are key skills to producing successful imagery for a client, its not always just about a beautiful image. The quality and beauty of imagery is expected and goes without saying, but the imagery must also fit the client needs, solving their needs just as they have their clients. This was my initial opportunity to work with Miller Hull which made this information gathering and scouting even more critical.

The project consists of retail, restaurants, office space, open space and the boat slips that provide the potential for housing. The restaurant, Jimmy’s Famous American Tavern occupies the ground floor of one of the tandem structures while the retail and offices fill the second level. The view from the harbor master office is certainly spectacular, taking in the boat masts rising vertically before the view of Pt. Loma and the open ocean and also enjoys the warmth and vibrance of the afternoon sun. As a photographer, an artist, I was equally drawn to the artist studio that occupies the second story of the street front facade. Facing due north, the soft filtered light illuminating the white walled single room studio compares to the NYC photo studios boasting of their northern exposure, not just prime real estate, but also primo light.

The majority of photography was completed in a single day, arriving on site at sunrise, only to be greeted by a thick marine layer and packing up equipment after the sun dipped below the horizon. An additional early morning trip took place to capture the northern facade in early morning, marine layer-less, sunlight. My “office” for the day, on the water, smelling the salty air, listening to the seagulls, the lapping water on the rocks provided the perfect multi sense inspiration for a days work. Before you chime in, “what a plush job”, let me remind you that not every project is located on the waterfront in 70º San Diego, I’ve got stories of minus temps in Chicago in January or 115º Dallas in August, working outside all day, that keep one even keeled. The visual stimulation of the Miller Hull designs and use of complementary materials, textures and tones fueled my own creative juices. These are the days where you hear your stomach bark at you and realize its 3PM and you’ve yet to even consider stopping for any lunch. As a photographer, I love these days and am extremely thankful for cliff bars and water.

On the heels of projects like The Wharf at America’s Cup Harbor and Pier 32, Miller Hull is opening a San Diego office in April. They are currently working on the redesign of the US – Mexico bordering crossing at San Ysidro, a significant project and massive undertaking. I look forward to welcoming my friends, Miller Hull, to San Diego and am eager to witness more of their outstanding designs grace the San Diego landscape.

I was raised in Oceanside, California at the height of the 80‘s Cold War nuclear fears. To the north lay Camp Pendleton and to the south, numerous military installations; Miramar, North Island, and the Naval Training Center to name a few. I recall the aircraft hangars along the west side of I-5 as we traveled to downtown San Diego. I listened in awe of the stories of small town Oceanside during WWII, the lookout towers along the oceans edge, constantly scanning the horizon for signs of Japanese submarines. Like so many others, my grandfathers were both involved in WWII, one served in the Pacific, one worked to build the initial structures that make up Camp Pendleton today. And as most from the Greatest Generation, they never spoke of their experiences, only short subtle recollections as I grew older, but never anything that would truly communicate the horrors of war they must have experienced. Country served. Sacrifices made. Stories untold.

These weren’t the only sacrifices made or stories untold. I’ve always remembered my first grade teacher, Ms. Nagata, for the simple fact that she let me explore learning with the zest of a curious, excitable, six year old. I loved math, I loved numbers and I thoroughly enjoyed the work books filled with problems awaiting answers. She allowed and encouraged me to work through the book at a pace that fed my hunger, all the while checking to make sure I was doing the work correctly and understanding the necessary concepts. Thirty years after leaving Ms. Nagata’s classroom I experienced an admiration for her as a person far beyond any math lessons. You see, Ms. Nagata’s family is Japanese and faced imprisoned in the internment camps of WWII like thousands others of Japanese decent. For decades I lacked the knowledge to the depth of the warm welcoming smile I recalled each morning of first grade.

A little piece of history I didn’t learn from a history textbook at any grade level, rather I was first introduced to this history by the photographs of Ansel Adams. Ansel Adam’s image, Mount Williamson, Sierra Nevada, from Manzanar, CA, 1944; the large granite boulders backlight by the setting sun and towering Sierra Nevada range in the distance was my first introduction to the internment camps. His images focused on the Manzanar Camp, one of 10 throughout the Western United States. There were other images as well and a published collection of photographs entitled Born Free and Equal,  Ansel’s statement on the terrible injustice he saw occurring. I suppose at age 16 I still didn’t grasp the depth of this historical event or period in our nations history. Though Manzanar became a place I hoped to visit one day, in my mind it was still about retracing the steps of an admired photographer; not a first grade teacher or complete group of people identified and imprisoned only by their heritage.

The stories of the Greatest Generation and the movies depicting the horrors and heroism of WWII have become quite prevalent over the past decade. They are stories of tremendous sacrifice and service to our country, deserving to be told so that future generations will be reminded of what others who walked before them sacrificed for them today. I believe, there is a story yet to be told in its entirety, that of the Japanese internment camps. Possibly it is due to the lack of attention those who suffered through it have raised, as many felt it was part of their duty to country. Even those that were born in the United States and held complete citizenship made the sacrifice to willingly board the buses and trains that carried them from their homes and business to remote areas throughout the West. Possibly the remoteness of these camps have kept them hidden from the mass public. Possibly the fact that once the prisoners were freed, the camps were quickly cleared of any signs of the saddening history, the guilt of our own shame.

I visited Manzanar in the Spring of 2010, as my family enjoyed Spring Break exploring Death Valley and the Eastern Sierras. I had read more about this historical site and thought I had a greater understanding, but as often occurs in life, real life experience brings about a change within our soul. One building remains on the 500 acre site that housed 10,000 men, women and children from 1942 – 1945, of which two-thirds were born in this country. The gymnasium where teenagers once enjoyed dances and socials as an attempt to forget the binds that held them. Today this gymnasium serves as the museum for Manzanar National Park. The grounds still hold relics of internment, one remaining guard tower, monuments that were created by its temporary inhabitants and the bones of once beautifully designed Japanese gardens. You could sense the souls still hovering in the crisp afternoon light cascading over the towering Sierra peaks. The voices that told the stories of life at Manzanar brought chills throughout my entire body. I felt warm tears roll down my own cheeks as the now aged American told of his life in Manzanar, his memories as a child, “It was like summer camp, all the time, so many children.” But his tears flowed as he spoke of his father, an American citizen, a man that owned a business, a home and loved his country, that had all of it stripped from him because of his ancestry.

The photographs included in this post are from the Manzanar site. The afternoon at Manzanar became more about the emotions and experiences than the photographs. The images serve as reminders for me, they hold greater meaning to me personally because of what they represent. A soul changing day, experienced with my wife and children, all our lives changed. An untold story heard by the four of us and digested deep within our souls.

Yes, I realize, sadly, this is not a first in the history of mankind, unfortunately its an all to common occurrence in the history pages of our planet. Is love or fear the almighty of feelings? Both have the power to spread like wildfire when the winds are stoked and can be used as rationalizations for our actions. In the end, we all must look within to answers these challenges, which drives our heart and soul, love or fear?

In closing, my mind drifts to the words of Bono, the lead singer for U2, just another artist, like Ansel Adams, who continues to bring social injustices and concerns for mankind to the publics view. In a concert in Italy in 2005 shortly after the terrorist bombings in London, Bono introduces the the song Miss Sarajevo, a song dedicated to the horrific ethnic cleansing that occurred following the fall of the Soviet Union. To quote my favorite Irish lad in his intro, “We would like to turn our song into a prayer, the prayer is; we don’t become a monster in order to defeat the monster”. Let us all keep an eye on the past so that our future is free of monsters.

I received my first camera, a Minolta X-700, for my birthday at age 15. At that time I was most interested in surf photography, as any 15 year old whose spent their entire life along the Pacific Ocean. I was always enamored by the photographs in Surfing and Surfer magazines, that was the dream. As I began a photography class a few months later, I was introduced to Ansel Adams, not personally as he had already passed on, although I did have the honor to meet the late Virginia Adams, true story, one for another post. From that moment, I decided I wanted to be Ansel Adams, along with a few others photographers, young and old. I continued my photography studies at Brooks Institute of Photography and was exposed to Architectural Photography, all the while escaping into the Santa Ynez Valley whenever possible to fuel my passion for black and white landscape photography. As I began my professional career, I chose to focus on Architectural and Interior photography, which I equally enjoy and find professionally and creatively rewarding. On the occasion that I am commissioned to work on a Landscape Architecture project, well, that provides an opportunity to explore the love I have for Architecture as well as the landscape. The Shangri La Botanical Garden project brought together the talents of landscape archicture firms; Jeffrey Carbo Landscape Architecture and Mesa Design Group, and the architectural firm of Lake Flato Architects as well as the featured cover story in Landscape Architecture Magazine, September 2009.

The story in Landscape Architecture magazine written by Daniel Jost is fascinating and insightful, providing the history of the location, the creative partnership that forged this jewel and the natural hardships the gardens have faced just to be enjoyed today. I first heard of the project from my client of many years, Jeff Carbo. I’ve had the privilege to photography Jeff’s work for over a decade and enjoyed the publications and awards, regionally and nationally, that his firm has so richly deserved. The excitement was infectious when Jeff first discussed the project with me, this was going to be a very special project, it was going to be Shangri La. I’ll never forget our next conversation, shortly after the back to back horrific hurricanes, Katrina and Rita. Katrina received and continues to receive vastly more media attention because of the human aspect and levee failures of New Orleans, but Rita was every bit as damaging a storm, it just happened to move through a sparsely populated area relative to Katrina. After reviewing the impact of Rita on the property that would be come Shangri La, Jeff shared with me the startling reality, over 50,000 trees destroyed, fallen, gone; all in a matter of hours in a 250 acre area. That was just the first natural climatic occurrence that attempted to derail Shangri La, months before completion, the rains of Hurricane Ike nearly turned Shangri La into the lost city of Atlantis, dumping inches of rain upon the area and leaving the entire gardens under water. As a garden, one might think, water is good, right? But the brackish, salty water from the Gulf of Mexico’s surge decimated the gardens. Once again the garden opening was postponed as another natural force unleashed its brut force. Once again the design team and Shangri La staff lead by Director Michael Hoke persevered and eventually this jeweled gift was introduced and welcomed the public to connect with nature.

My first encounter with Shangri La came in June 2009. An evening flight into Houston, Texas, followed by a two hour drive along the tiresome stretch of I-10 east of Houston delivered me to Orange, Texas at a late hour, worn from a day of flying and driving. Sleep came quickly as did the scheduled 6AM call time. I greeted Paul Freeland, now of Studio Outside, Jeff Carbo and Michael Hoke and we began our initial tour and on site discussion of the project. The garden experience begins with the visitor center and museum area, which represent the majority of actual built structure on site.

As the sounds of birds, water and gently flowing breezes engulfed me, the slumber of a few hours of sleep captured the night before, quickly transformed to energy, and the greatest of energy, not caffeine induced, but creative energy. The sky was transforming from darkness to subtle tones of purples, pinks and blues, Shangri La was coming to life. There was a silence to our conversations, a respect to the natural sanctuary that was drawing us further into its midsts.

The buildings gave way to the openness of perfectly manicured glowing green grass greeting the first rays of sunlight. The natural sounds were joined by the footsteps of staff beginning their daily responsibilities of maintaining such an extensive garden. But even they seemed to work in a revered silence of the beauty in which they work, also enjoying the coolness of the morning ahead of the expected warmth and humidity of a June day near the Gulf of Mexico. During this initial scouting I struggled to keep my creative excitement corralled, as I needed to focus on all of the details, light, time of day, camera positioning and discussion with the principals to ensure the imagery captured over the ensuing two days would fully encompass the vision of place. We approached the Pond of the Blue Moon just as the early morning light scrapped its way across the water, bringing an amazing glory to one of the highlights of Shangri La.

Arriving at this centerpiece of the gardens we quickly realized our first challenge to capturing the complete vision of this project, elevation. I’ve scaled walls, rooftops and mountains in search of the perfect vantage point, all the while dreaming of the power of levitation, maybe one day. A complete side note, jet pack technology seems to be making strides, here are a couple of my favorites, Martin Jetpack and Jetlev, the concept could revolutionize the way I work, eliminating the constraints that come with helicopters or lifts. On all the sample videos on their website, I can’t help but sense that the operator is quite uncertain about the reliability of the systems, I mean, let’s not get too high off the ground, because that means you have further to fall right? I suppose I watched one too many episodes of the Jetsons as a kid. So back to our challenge of elevation, it was determined that a lift would be our best tool to capture the image portraying the full scale of the pond, a critical image.

The scouting, discussion and tour was completed by 8AM and I set my focus on becoming “lost” within the confines of the gardens and my camera. These are moments where time really no longer exists from a clock perspective, time becomes all about the light and moving sun. Rather than setting a time, such as at 8:30AM the light should be ideal in this area, its more of a feel and visual approach for me. Once the sun clears that tree line, a stance of trees may begin to feel the morning light, but in a few moments, it will cast along this grassy area perfectly with long drawn shadows. Feeling and becoming in tune with the movement of the sun is a dance, thank goodness this type of dance doesn’t require much rhythm, because those closest to me who have been witness know I’m a tad bit rhythm deficient. But to the rhythm of the light I’m in tune.

One of the aspects of my client, Jeff Carbo, that I’ve admired from the first project together is the textures, colors and depth that he creates in his design. I suppose all landscape design includes a variety of plantings and colors, but in Jeff’s work, it the attention to the linear patterns, the subtle differences in leaf texture, its all very subtle, meticulously planned and executed. When the full palette is complete, the work of art completed, it is pure artistry. An amazing talent. There have been opportunities where we have revisited a project after a few years and the living, maturing gardens have evolved, but the complexity and depth of textures and colors age just as magnificently. If Jeff ever becomes a vintner, I would buy a case of his finest wine and know that with each year his creation would become even finer.

As the day progressed, my focus shifted to capture the goal of the Shangri La Botanical Gardens, to connect individuals of all ages with nature. The buses arrived, school children from Lake Charles, Louisiana, a tour group from a Senior Citizen Center in Natchitoches, Louisiana, all arriving to connect and admire. Shangri La took their mission a step further, they are living it. They challenged the design team to create a sustainable, Green site. The results, the first LEED Platinum Certified project in Texas and the 50th such project in the world at the time of completion. As Michael Hoke and his staff of Shangri La educate all guests about living in a sustainable manner, they do so from a position of true honesty and merit. Planet Earth could use a lot more Shangri La’s.

The Shangri La Botanical Gardens have garnered national attention, and deservedly so. In addition to the feature cover story in Landscape Architecture Magazine, the AIA presented the project with the distinguished COTE Top Ten Green Project award. Recognizing it as one of the top ten Green projects in the world.

Although the mystical, harmonious valley described as Shangri-La in the novel, Lost Horizon by James Hilton is purely fiction. However, the metaphor of Shangri La exists today, in a small town along the I-10 in Southeastern Texas, the city of Orange, an unexpected location, the Shangri La Botanical Gardens.

At the southern end of La Jolla, California, as La Jolla Blvd makes its track down into Pacific Beach there lies a jewel of a neighborhood, Bird Rock. The local flavor of the Bird Rock neighborhood is a relaxed contrast to the well known Prospect strip crowded with shoppers and visitors. It would make sense if you lived in this area that you’d love a view of the grand Pacific and an easy spot check of the surf at Bird Rock from your roof deck, right? Absolutely, and that is exactly what the homeowner had in mind when he searched out the talents of interior designer Kristianne Watts of KW Designs, contractor Paul Spadone of Streamline Development, architect John Rumsey of MPA Architects. In addition to the design team, the selection of Weiland Sliding Doors to bring the incredible outdoor setting right into the living room was critical. On this day in early November I had the privilege to capture in image the talents of these four parties.

It was truly going to be a full day to capture all the images the design team desired of this project. Arriving on site at 6:30AM, my assistant Zack Benson and I went right to work with this dawn exterior image. During scouting I determined we would begin with this image looking east into the rising sun. This would allow us to capture images looking out to the setting sun in the dramatic light of dusk. Along the coast there is always a risk of morning overcast skies, which in the summer is more affectionately referred to as “June Gloom”. I know, I know, us spoiled San Diegans referring to cloud cover in the summer until noon as “June Gloom” when many would jump for 65º and overcast in July, right? This morning there was not a hint of gloom, it was crystal clear, deep cobalt blue sky and a breath of wind, perfect.

Moving inside, I took advantage of the soft morning light filtering into the master bedroom to photograph this space. Lighting is so critical to any successful photograph. The ability to “see” light, to understand its movements throughout the day for a given project and also how to build along side it with professional lighting equipment is a defining factor in architectural and interior photography. In addition to the existing daylight, a nice large softbox was set up outside to increase the lighting moving into the space. Additional accent lights were utilized to enhance the artwork, linens and wood of the dresser. It is these accents that really bring an image to life and add depth to a two dimensional image.

Just outside the master bedroom, the entry hall included a couple of original “Blue Dogs” by famed artist George Rodrigue. Having spent a decade in Louisiana, I’ve had the privilege of viewing quite a few of Rodrique’s signature pieces, but rarely do I run across them this far west of the Mississippi River, a nice surprise and reminder of the Bayou, not to mention the rich pop of color was perfect against the neutral walls.

Moving to the second floor kitchen entailed a few trips up and down the stairs, five minutes of cardio-photography is always a good midday boost, Starbucks isn’t bad either, but today was a cardio day. The kitchen brought lighting challenges of deep toned cabinetry that was also highly reflective. The flexibility that working digitally brings me today is terrific, especially in such a situation. Utilizing multiple layers and position lighting in different locations allowed me to blend multiple image layers resulting in illuminated cabinetry minus reflection. All of which could have been achieved in the days of film, but in the same time and efficiency, I’ll argue not. For the record I was a diehard large format film photographer for the first twelve years of my career, so I definitely look at it from both sides, film vs. digital.

Opposite the kitchen, the Living Room and the afternoon light begins to arrive, filling the space, the whole second floor actually with warm afternoon Fall sunlight. Of all the seasons, I’ve always been quite a fan of the Fall. There are afternoons like these, clear, crystal blue skies, and then those afternoons the fog banks roll in and you can disappear along the waters edge, even the sounds of the passing cars become swallowed and disappear in the fog. As the afternoon moves forward, as an architectural photographer, you also realize that dusk is marching briskly toward you. While working on one image, your mind is organizing the remaining images, checking the time, estimating how much time each will require and where you need to be at that magic hour. Plain and simple, this begins to become “go time”. A little less conversation possibly, focus dialed up a notch higher, the time when a top assistant is worth their wait in gold, and Zack is pure, like 24 carat.

I mentioned there were four parties involved in this projects photography, which is a great opportunity for all involved. For me, it also means capturing images to suit each of there needs. Last thing you want to run into is delivering a project and having one party to be displeased, my goal is to meet and exceed clients needs and expectations. Weiland Sliding Doors & Windows of Oceanside, California has been a client for the past few years and terrific to work with. The first time I opened one of their doors, a large door, huge piece of glass, I expected to exert a bit of energy, much to my surprise, turning the handle, releasing the doors, they slid like they were on ice. I was amazed, impressed and left dreaming of a home on the water that would provide just the right setting to enjoy Weiland’s doors.

Fourteen hours after that first image, the final image was captured. Again, scouting pays off, as there are often images that can be captured once every ounce of sunlight has left the sky. Creating all the light required with my own lighting, the equivalent to working in a studio, creating all the light required. There are challenges to creating 100% of the light, bring a real, natural light appearance; but also advantages, certainly greater control.

The Bird Rock Project, an outstanding project and did I mention LEED certified, so its good for mother earth as well, an all around winner. For me, each of these projects becomes filed in my hard drive, both literally, I mean these images are backed up in three separate locations, but also figuratively. I recall the weather, the light changing, the stories told throughout the day, the rising swell on this day that covered the horizon with perfectly spaced lumps as the sun set. The Coronado Islands were pristine, so vivid through the colorful afternoon sky. The adventure to a nearby buildings rooftop to check for potential angles, which didn’t come to fruition, but you don’t forget the climb up the wall and pulling up to the roof, and then the added joy of coming back down. All these bytes of memories, for me, are emblazoned into each image and that is why I love my work.

I recall in English class the professor sharing, “if your stuck on the intro, move on and come back to it once you’ve completed all of your thoughts”. The daunting task of the first blog post brings with it equal pressure and desire to use just the right words to entice the reader to return for each subsequent posting. But as a photographer, I generally speak through images; composition, light, color, texture, shape, props are the words. The language of writing through images is my passion and my goal in this blog is to share the journey of this passion. With any journey of meaning, there are struggles to balance the successes; tears so that laughter is more heart felt and days you wonder if Wal Mart is hiring that make that next exciting image created burn more brightly in your soul.

So, I invite you to follow along, the journey of an architectural photographer, where weekly you will be entertained with fresh new images of architecture, interior design, landscape architecture, fine art and travels throughout the globe.