I casually collect both iconic and obscure camera systems and optical equipment from the peak of the 35mm film era, and my photographic practice is built on a devotion to the period mechanical workflow of these tools. Every image is hand-processed in my mini-lab and digitally printed from negatives. My technical approach employs low-speed archival and separation-workflow films and modern high-silver films, spare fine-grain color, and clean solvent development.

My landscape work studies infrastructure, accretion, and the material logic of systems. Working within traditions of typology and topographic photography, I focus on the psychological pressures imposed through infrastructure architecture, and its fractures, boundaries, and erosions.

Alongside this work I make portrait studies of subjects that are often overlooked. Humans, animals, and insects are approached with the same direct and monumental attention.