Tell me about you!

I grew up in the Midwest. My early artistic training was in watercolor, but during art school, I transitioned to photography, choosing workshops and one-on-one tutoring to hone my skills. Our photography studio had a great 40-year run, mainly working in the food industry, starting in Cincinnati and later in Chicago.

How did you first discover your love for photography?

When I was 12, I started tinkering with my father’s Rolleiflex. I’d turn our small bathroom into a makeshift darkroom at night, processing film and making prints. Like so many others, I was fascinated by the magic of watching an image appear in the developing tray.

Who are some of your favorite photographers (past or present)?

From the past, I draw inspiration from photographers like Josef Sudek, Paul Caponigro, Paul Strand, and Minor White. In the present, I admire the work of Jungjin Lee, Sarah Moon, and Yamamoto Masao. Beyond photography, I find painters and musicians equally inspiring— Andrew Wyeth, Daniel Sprick, Miles Davis, John Coltrane, and Jon Batiste, to name a few.

Can you tell us about the shift in your photographic career from commercial to nature?

In 2020, we closed our Chicago studio and relocated part-time to a small artistic town in Maine. Shifting from the structured world of advertising photography—focused on craft, problem-solving, and efficiency—to personal work that comes from the heart took some adjustment. Now, every day is about honing my visual voice, whether I’m making images in nature, bringing them to life as prints, or simply enjoying being outdoors.

Can you describe a photographically challenging situation that you were confronted with that you were able to resolve on the fly?

I was out in a marsh waiting for the tide to come in when a thunderstorm rolled in out of nowhere. Totally unprepared, I ended up dumping my lunch and using the plastic wrap as a quick camera cover. Thankfully, I managed to take the photograph, enjoy the downpour, and return to dry land.

How has using photogravure and chine collé printing techniques impacted your photographic approach?

“Empowering” is the first word that comes to mind. There’s a special depth and artistry in these processes that transforms the final print into something special.

One thing I’ve always missed with inkjet printing is the one-of-a-kind nature of silver gelatin prints—no two are exactly alike. Gravure brings that same uniqueness. Each print is crafted by hand, from inking the plate to operating the press, so every piece has its own subtle differences. In a series of 10 prints, they’ll all be similar, but those small variations let you choose a true artist’s proof from the collection.

What concepts or skills from your painting background inform your photographic work? 

If your final image will be in color, start by working in black and white. Lightest lights against the darkest darks creates dimension.

Like with watercolor, protect your lightest areas—they guide the viewer’s eye through the image. For studio lighting, take a painter’s perspective on color. Photographers often say there’s one light source in nature: the sun. Painters, however, recognize two: the sun and the sky. This matters for both contrast and color. Painters know highlights tend to be warm while shadows are cool. When using strobe lighting, a proper approach that mimics daylight—rather than neutralizing shadows, mid-tones, and highlights color differences—can make an object appear more dimensional and natural.

Finally, pay attention to empty areas, or “negative space.” When this space flows well, the rest of the composition tends to fall into place.

What is your favorite underrated photographic tool? Why?

Using a handheld empty slide frame is a great way to study your composition. It lets you explore the space, balance, and visual flow without rushing to press the shutter. I’ve found that slowing down and creating fewer, more thoughtful images leads to much better results than snapping away impulsively and fixing things later during processing.

If you were behind your camera and could choose anything you wanted to be in your viewfinder, where would you be and what would you be looking at?

Clark Island, Maine—watching the tide rise and swirl around the rock formations at sunrise. Pure magic!

Why did you select Capture Integration as your equipment partner?

They truly understand the challenges professional photographers face and either have the answers or will find them for you. They’re quick to respond to emails, consistently friendly, and a pleasure to work with. I’ve relied on their expertise for years and plan to continue doing so.

Inside Jeff’s Camera Bag