"To stand behind the ground glass of a technical camera is not to take a photograph, but to surrender to the slow unfolding of a presence."

My work is grounded in the tactile, deliberate rituals of large-format sheet film photography. Unlike the instantaneous and frictionless nature of contemporary digital imagery, the technical view camera requires complete stillness. It invites an intimate negotiation with gravity, bellows draw, and the geometry of perspective.

The subjects I return to — sheer granitic walls, the subtle breathing of coastal mist, silent interior corners where light pools on modest vessels — are investigated as states of quietude and endurance. The large-format negative preserves not merely an inventory of details, but the sensory weight of duration.

In the darkroom, the photographic object is realized as a physical artifact. The silver halide grains embedded in the gelatin emulsion bear a direct physical relationship to the light that touched the subject. Through meticulous contact printing and archival toning, each print is brought forward as a quiet, durable vessel of memory.