For 2026 I have made six Black & White archival pigment prints. Four of them were made using an Infrared-converted camera that continue his interpretation of the Island’s beauty “in a different light.” (For more information about this process, see the Infrared Photography statement below.) Additionally, I'm also introducing 4 large color dye sublimation prints on aluminum. They are another means of visually interpreting Island locales and were made over the course of four seasons using multiple exposure and Intentional Camera Movement techniques.

I continue to be guided by Maya Anglou’s belief that, “You can't use up creativity. The more you use, the more you have.”, my various photographic practices inform one another and propel my curiosity.

In a Different Light-Infrared Photography

I’ve been photographing the Island for over two decades and have always sought ways to make highly personalized photographs that capture its unique beauty, grand landscapes and ocean vistas, as well as more intimate settings and subjects. In 2024, I undertook a photographic project using a converted digital camera designed to capture infrared (IR) light within the near end of the IR light spectrum, 700 to 900nm, light humans cannot normally see. It produces striking, high contrast, Black & White photographs that present the Island in a truly unique and different way, one that encourages viewers to pause and consider familiar locales with a fresh perspective.

Different materials reflect or absorb IR light in varying degrees. Deciduous leaves appear bright white because the chlorophyll within the leaves is relatively transparent to infrared radiation, and the internal structure of leaves are highly reflective. Evergreen leaves do not reflect with the same intensity and appear darker. Clouds too are highly reflective because of their moisture content. And because IR light penetrates atmospheric haze, it reveals more moisture bearing clouds than we can normally see. This reflection causes clouds to appear bright white and stand out dramatically against skies, which absorb IR light and appear much darker. Reflective elements in many IR photographs appear to glow in contrast to the darker tones of water and inorganic materials such as rocks and man-made structures that absorb IR light.

My primary inspiration for this kind of photography is Minor White, the mid-20th century master photographer who made stunning infrared photographs. I am guided by his observation: “One should not only photograph things for what they are but for what else they are.”