My work has evolved from the circumstances of my daily life. Around 2008, I wanted to revive my old photography avocation, but my career in IT gave me little time to shoot. So I decided to take a camera with me everywhere. I was working in San Francisco and commuting across the bay by ferry. My first subjects became the things I could see from the boat. The bay is astonishing with its infinite varieties of light and weather, so I wanted to save a tiny bit of that if I could.
Later, my range expanded to include the North Bay. My weekends became devoted to shooting landscapes. I found myself exploring parts of rural Marin and Sonoma I’d never been to in 35 years of living in the Bay Area. I wanted to record my impressions of those places, too.
I also go to New Orleans regularly to photograph people, eat seafood, and hear live jazz. Tennessee Williams once said, “America has only three cities: New York, San Francisco, and New Orleans. Everywhere else is Cleveland.” He was right, although, sadly, New York and San Francisco are rapidly becoming Cleveland as well. That leaves only New Orleans.
So that’s my photography raison d’être. Over time my work has become more focused on a few long term projects, but I’m always open to serendipity. I take photographs simply to make images I’m happy with, but I’m very hard to please. Occasionally other people like my work too, and it’s very nice when that happens.
I’m mostly self-taught. My formal training, if you can call it that, consists of one class at SUNY Purchase in the late ‘70s and a weekend workshop with Ted Orland in Carmel in the summer of 1982, where I also met Ansel Adams. He showed up unannounced on the last day, during a lunch our group was having on the patio of the Sunset Center, brandishing a paddle ball with James Watt’s face on it. James Watt was Ronald Reagan’s Secretary of the Interior. He wanted to strip mine the national parks and install a cable car ride up the side of Half Dome in Yosemite. Naturally, Adams hated him. So he shows up with this thing and starts slapping around the little tethered ball with the paddle, giggling every time it hits Watt in the face. We all applauded. That’s pretty much the only thing I remember from the workshop.
Paul Caponigro once gave me his business card at a book signing at Photography West in Carmel in the late 80s. I think I still have it somewhere. He was a hero of mine. So was Eugène Atget, but he never gave me his business card.
2013 – Solo show: Godfrey Q and Partners, San Francisco
2013 – 2014 – Leica Photografie International – 15 images selected as Leica Master Shots
2014 – Leica M Magazine – “Willow Tree, Petaluma”, selected for their 2014 Advent Calendar
2016 – Group show: Black+White 2016, Juried by Rodney Smith, The Center for Fine Art Photography, Fort Collins, CO
2017 – Group show: Landscapes 2017, Juried by Lisa Volpe, The Center for Fine Art Photography, Fort Collins, CO