America Passing

In the 1970s I began documenting people, places, and events that were passing from our culture. In the beginning I used 8×10″ film (Phillippe’s) or 5×7″ film (Zoutis Candy), but eventually switched to smaller formats, 6x7cm (Cold Springs Tavern) and 35mm (July 4th, Conden, Montana).


For me, America Passing is a project with no end.


While operating a commercial studio in Hollywood I began photographing for architectural clients. I soon found that I enjoyed photographing architecture as much as fashion, glamor, and tabletops. The added benefit was that I was no longer tied to a studio. Instead I could be outside and travel the west coast on client projects. The deciding factor to work full-time at architectural photography was when my agent landed Mitsui-Fudosan, at that time the world's largest land developer. From about 1984 to 1991 I photographed properties from San Diego to San Francisco for Mitsui picking up additional clients along the way.

Christo's Lounge

Christo's Lounge in Salem, Ore. is an intimate venue that features jazz, blues, and a variety of eclectic music.


The lounge was established in 2011 by Mike and Lisa Learn, who own Christo's, the Italian Restaurant next door. Before it became Christo's Lounge it began as a space for alternative music called "The Space," owned by drummer par excellent Doug Hoffman. Unfortunately, The Space was too loud and the neighbors had it banned.


During the week Christo's Lounge features local talent. Once a month they bring in a headliner, often from outside Salem. For example, Lew Soloff who played with Blood, Sweat, & Tears; Mel Brown of Portland, drummed for the Temptations and is a favorite with the regulars; Tom Bergeron, a music instructor at Western Oregon University, stops by occasionally with his Brazil Band Ensemble just to keep things lively.


Since January 2012 I have been photographing the bands and musicians for the house.

Commercial Photography

From 1977 to 1984 I operated a commercial photography studio on Sunset Boulevard and Hudson in Hollywood, Calif. My clients included Max Factor, Vivian Woodard, and Merle Norman cosmetics; IBM; Teledyne/Inet; Wham-O Toys; Ohrbach’s Department Store; and ad agencies.


Although I closed the studio in 1984 I have continued to do commercial assignments as they materialize, though on a much reduced scale. Recent clients have included Rochelle Boleyn cosmetics, Durango Fine Weavings, Cold Creek Press, Ten Knots Design, and most recently photographing teen fashion for SG industry magazine, and vape pens for CO2 Company.


The Father/sons project was created for the Salem Art Association's Project Space II.

The intent of this project was to record how Father's related to their sons. To accomplish this I asked each Father to step onto the background and arrange him self and his son(s) in any way he felt appropriate. These are a few of the results.


I first photographed Halloween on Hollywood Boulevard in 1982 with a Nikon F 35mm. The images, Ride to Live and Girlfriends on Hollywood, were two of my first. It made me realize the limitations of using a SLR for night, slow shutter speed photography, and so I switched to a Leica M3 and my love affair with the Leica camera began.


During the years I had a commercial studio in Los Angeles  the L.A. Free Press would publish a weekly list of music clubs located throughout L.A. I became curious about the clubs in South Central and Watts. One evening, in 1989, I took a copy of the Free Press and drove to the first address on the list. The building was vacant. I drove to the second. It was a parking lot. The third, fourth - same story.  By midnight I gave up and headed home.


Traveling north on Central Avenue with my car windows rolled down, I heard music. I pulled over and parked. When I got to where the music came from there was a door in a brick storefront, next to a curtained window with one neon light that read "Miller's" and another over the door that read "Babe & Ricky's Inn."


I walked in. Everyone stopped to look. The owner, Momma Laura, told me later that I was the first "white man" to walk into her club since she opened in 1957. I became friends with the musicians. They invited me to go with them to other clubs, some of them illegal, in abandoned building or behind junk yards, but none of them listed in the Free Press!


As an inveterate observer of people I began noticing that it is often possible to recognize a Mother and her daughter by their eyebrows. I then became curious as to how much like her Mother a daughter appeared before she began to develop her own unique characteristics.


I advertised in the local paper for Mothers of any age with daughters between the ages of 12 and 20, before they began to form their own distinct self. I also asked that everyone wear black as not to distract from their facial features.

Nudes of the Southwest

The photographs in this portfolio were made from 1986 to 2006 in New Mexico and Colorado.

The Nude at Big Sur

From 1979 to 2005 I led the longest running annual workshop on photographing the nude in nature. The workshop took place on beaches and forests of Big Sur, California. Many of the areas were those used by photographer Wynn Bullock.


The images in this portfolio were created in Big Sur during that period, both during and between workshops.


A very few copies of my book, The Nude at Big Sur, are still available. Contact me directly if you would like to purchase a copy.