I began to photograph people in graduate school at a party in the winter of 1982. That lead me to later do my thesis work working with people in the studio. It was more about gestures and body language than it was about portraiture. It was an investigation of the dynamics between me, the photographer and the subjects in front of the camera. I would set the stage, the lighting and then more or less, have the subject do whatever felt comfortable. Sometimes I would lead the action and sometimes the subject would take command and I observe. That was usually the case with babies and children. When I moved to Seattle in 1984, my commercial work was architectural, but my portfolio would have samples of my people work, just to show my range. In 1987 I approached Donna Jorgensen to represent my work in the commercial realm. I had met here 3 years earlier and while she liked my work, she passed. But this time she said yes, but only if she could rep my people work and not the architecture. I was ready for a change, so I agreed. She almost got me an assignment that first day. We took it as a good sign. From there I did annual reports, advertising and editorial work. Anything that involved people. Sometimes as portraits, or just bodies passing through the scene. It also was the foundation of my stock photographic work. I always had the same process. I would set the scene and let the subject perform. I would give very few commands to the folks I photographed, other than often say, find a comfortable place. I would look for gestures and body language that was unique to everyone. It was always intuitive, always a dance. And always different. It was fun too, and introduced me to many interesting people and situations, expanding my view of humanity. Who knew that the work I did that night at that party in Athens, Ohio would lead to a life time interest in photographing humans?
