Fine Art Abstract Macro Photography.  Innovative techniques for capturing the behavior of light as it intersects at the corner of Art and Science. 


Paper, metallic, acrylic and Dibond, to name a few surfaces, are printing decisions that are critical points to pause, reflect upon and make thoughtful choices about in the craftwork of photography. For each photograph, I carefully select paper, sizes and print settings. My passion is to bring each image that I discover in the camera to life and create an impactful generational work of fine art. All the papers chosen are acid and lignin free for museum quality performance and longevity. Paper weights range but have a strong tendency toward the heavier end of the gsm scale. The experience of holding a denser heavier paper adds a sense of gravitas to our customers. Texture and color of the paper are considerations in the selection of what to print on. Metallic printing and acrylic mount require us to select our artisans partners carefully to ensure they have a deep, expertise with a commitment to quality and experience.


Entrada Rag is world renowned for its superbly sharp quality and ink performance.  As a lignin and acid free paper, my artwork will last for decades in your collection and generations within your family. The cotton matte paper has unparalleled tonal range, allowing emotion and depth to come forth. The surface texture is delicate, while the paper has a pleasing weight. Light sings and dances on this paper as it does when I am capturing the photo.

Slickrock metallic paper is the natural choice when considering my fine art glass subjects. The Murano glass that I photograph simply comes to life when imagery is printed on the reflective silver metallic surface.  There is a luminous dimension that lends depth to the print creating a nearly 3D sense when printed. Whites are alive while black colors are deep and dark. The name for the paper is derived from the slick sandstone surfaces in the desert landscape.

The eco-friendly Moenkopi Washi paper is handcrafted through a partnership between Moab and the Awagami Factory in Japan, a sixth generation family business using ancient paper making techniques. The name Moenkapi is a Native American word for a layer of mudstone common to the Moab deserts, while Washi refers to the Japanese technique that uses renewable plant materials. The paper’s delicate fibers add subtle dimension to compositions with thin lines, curves, and pastel colors. It is an honor to use this award-winning paper as a source for my photography.


Hahnemühle is legendary maker of paper for the ages. Both historic and innovative, The company has been producing quality papers since 1584, while demonstrating their commitment to the future by creating the first fine-art paper for inkjet printers. The textures and the vibrancy of the ink performance on their paper is simply magnificent.  My favorites are their canvas and Baryta 320.


Synonymous with excellence, ILFORD has been a well-known name in the photography world since the company’s inception in 1879. I like the Galerie Premium Lustre for those special occasions where I move away from color and my intended artwork demands high performance black and white quality on the print. The paper provides outstanding detail with excellent dynamic range.


Printer choice is critical to producing fine, archival photographs. Canon is known as an industry standard for their exceptional quality, bold output, and rich colors.

I use a high-quality, large format Canon Prograf 4100 and LUCIA PRO archival inks to achieve the highest levels of excellence in my work. With 12 ink channels and an 18,432 nozzle print head, the printer creates the finest detail at 2400 x 1200 dpi on even the largest prints. Canon’s vibrant colors and seamless print quality bring my imagery to life, while its propensity for detail highlights the emotion, range, and texture captured in my photographs.

The end results of ink on paper is simply a joyful experience for me.