In March of 2019, I spent a little over a week in Death Valley National Park, both scouting for personal work, as well as teaching a workshop there with Muench Workshops. I explored a few areas of the park I had never visited, and revisited some old locations. With such a wet winter, there was quite a bit of water in areas of the park I had never seen previously. I spent around three days driving and hiking around the park before the workshop started, which took us out to the Eureka Dunes.Read More
To those who follow my work closely, you may know that I consider myself a large format photographer. I will photograph with a medium format camera, particularly when I’m trying to save weight on a backpacking trip or save time when I’m teaching a photography workshop, but 35mm has been somewhat shunned in my arsenal, being a format I deemed too small to be used effectively for my work.
In late 2017, Kodak Alaris announced they were going to rerelease a redesigned version of their old Ektachrome film stock as E100 in 35mm. When I heard this news, I was absolutely thrilled. Lately, film stocks are being discontinued left and right, from particular sizes, to the entire stocks altogether. With Kodak releasing a NEW film stock, I feel like there was a bit of light at the end of the tunnel - especially for transparency film. While I was disappointed it would not be announced in medium or large format film, I decided to give it a shot in 35mm.Read More
I am constantly asked questions about how I started and how to start shooting film. So, here we go! This guide is intended to be a story of my introduction to film as a landscape photographer, provide some tips, introductions and guidance, but in no means is it intended to be a foolproof method of shooting film. That’s a path that’s unique for everyone, so be prepared for failures and having some trial and error. That’s part of the process!Read More
In September of 2017, I managed to come across two used Heidelberg Tango drum scanners. One of which was fully functional, the other unit being for parts only. These behemoth's, weighing in at about 550 pounds each, were located in Arizona. In its prime, this model of drum scanner was, and still is, one of the top quality available, fetching a high five figure price tag. So what the heck is it?Read More
This project examines the geology, flora, and large landscapes of the American West that have been shaped by the Colorado River watershed. Over centuries, rivers have shaped this landscape into seemingly endless canyons that each have their own unique qualities and characteristics. From the rarely seen black canyons, shaped by the Gunnison River to the red Navajo Sandstone, shaped by the Green, Virgin, San Juan, and the mighty Colorado itself, these forever-changing shapes are what makes the Southwest such a wonder of the world. Over the years photographing this epic landscape, my hopes are to show some of the more intimate stories of the west.Read More
Almost daily, I wake up to an email, comment, or private message saying, "I want to start shooting large format, but I don't know where to start. What should I do and what should I buy?" Awesome! That's great news! After responding to each and every one of you (thank you for being so kind to ask me), I have decided to put together a list of recommended equipment for those of you who want to start shooting large format. Remember, the used market is your friend when trying to find equipment. There's a few good Facebook buy/sell/trade groups for film equipment, the Large Format Photography Forum can be a good source, but generally, I've had good luck on eBay.
*This is by no means a perfect solution and if you don't want to listen to me, by all means - don't. Everyone should has their own opinion and style and this is just what I have learned over the years. If I was starting fresh again, this is my guide.
**This is also guided towards 4x5 equipment, because of three reasons. 1) I guarantee you that you will make mistakes in this journey. A lot of them. You want those mistakes to be as inexpensive as possible. 4x5 is 4 times smaller by area than 8x10, thus making everything generally about 4 times less expensive. 2) Learning movements is a process and depth of field is always a challenge on large format. With 4x5, you have less of a challenge, which will lead to a more productive learning experience. 3) Everything is generally lighter and overall a less punishable experience than larger formats. Learning to compose on a ground glass can be tricky. 8x10 (and larger) is very rewarding, but I suggest you get your feet wet before diving in.Read More
Navigating the washes of Zion National Park's eastern side is a peaceful experience. Compared to the hustle and bustle of the rest of the park, wandering through unmarked trails and into unmarked canyons is solitude at its finest. On my second day in Zion, I found this stand of gamble oaks surrounded by a group of young red maple trees and set up the panoramic camera for a shot. The reflected light from a canyon wall directly behind me was incredibly strong and I waited for it to nearly subside before exposing this scene, bringing out much more noticeable hues of blue and purple throughout the scene, accentuated by the bright red maple leaves.
One of my first trips after returning home to Kansas was spending a few days sleeping and exploring the open ranges of the Flint Hills in eastern Kansas. On the first evening, I returned to a familiar location, where I had exposed a few of my first sheets of 4x5 film and decided to give it another chance on 8x10. Flint and limestone deposits scatter the hills of the prairie and in early summer, after the annual spring prairie burns, they are exposed as the grasses begin to regrow around them. A summer thunderstorm moved north of the area and I had originally thought the light was going to be completely shut down by the cloud cover, but about 15 minutes before sunset, a brief window of golden light opened up for a matter of minutes. It was enough time for me to expose two sheets of film, one of which was subjected to a bit a bit of a light leak. I guess I could consider myself lucky that I pulled this one off.
The Arca-Swiss Cube C1, otherwise known as "The Cube" is a top of the line geared tripod head that I have had the pleasure of using now for the past two years. This head is capable of handling loads up to 85 lbs with ease. There are moments where I will cantilever my Arca Swiss 8x10 with a heavy lens, looking down at the ground and the Cube does not drift and can can be precisely tilted and pitched as if the load wasn't there.Read More
Tripods and tripod heads are two of those things that many photographers don't give too much of a second thought. They exist, purely to support the "important" part of the kit - the camera. Photographers will spend thousands upon thousands of dollars on the highest-end camera they can find, only to put it atop an unstable $100 tripod and head setup. Now, this multi-thousand dollar camera they so dearly flaunt to all their friends produces muddy, blurry images. While these now-frustrated-photographers may blame it on a poorly designed image stabilization features in their multi-thousand dollar camera, a poorly designed, cheaply made tripod and head setup is most likely at fault.
Is this you? Well you're not alone. There are thousands of photographers I see just like you. If you know me personally or follow me closely on social media, you will know I am a sucker for fantastic gear. I'm the first to admit it - I have gear acquisition syndrome (from here on known as GAS). I have been this way my entire life, about every endeavor I have attempted to devote my life to - way back to my elementary Pokemon days. Some look down upon GAS I may have, and say I should take care of it, but if it has taught me one thing in life, it's that you get what you pay for.
Buy once - buy right.
Take this following narrative for example:
You are enthused about the idea of buying a camera and taking fantastic photographs - great! You run to your nearest mega-mart and plop yourself down into the electronics department where a dozen shiny cameras are glistening in the bright fluorescent lights. An overly-enthusiastic sales clerk greets you and sells you on the latest consumer DSLR body and kit lens - not the most inexpensive model, but one step above it. It's on sale! He offers you a starter kit, which includes a small shoulder bag, a few slow-speed SD cards, and an aluminum tripod. You take this excellent deal and carry your happy-new-photographer-self home.
As you begin experimenting with your new camera, you fall in love with photography. You buy another lens - this time it's a zoom long lens to accompany your zoom kit lens. You still haven't touched your tripod. You are attempting to master every aspect of photography, from food, portrait to puppy photography. Then you decide to go on an early morning hike with a few of your friends and bring your camera along. That morning you all witness the most magical sunrise of your life. You would love to photograph it, but remember someone telling you that if you increase your ISO too much, you'll start to see grainy images, but everything you've learned about photography so far tells you that you need to slow down your shutter speed in this low light - that's when you remember your tripod! You screw it into the bottom of your camera, extend the legs (one of them falls out while you're extending it, but you quickly reassemble it), find the perfect composition, and start clicking away with exposures as long as 2 seconds. You really feel like you're getting the hang of this whole photography thing, and are especially now interested in landscape photography.
When you get home, you upload all of your 1000 masterpieces you just created and not a single one of them is sharp. In fact, as the sunrise progressed, your composition even changed. As you click through image after image, it's almost watching a time lapse, but the horizon slowly begins to drift to the right. Frustrated, you blame it on yourself and press on. You continue working with this rickety excuse of a tripod that could barely support a floor lamp until one day it just magically falls apart. You wander onto the depths of the internet to your favorite online camera supplier and find a list of $100 tripods that even include a head and purchase the best seller in this price range.
When it arrives a few days later, you analyze it and determine it to be 100 times sturdier than your previous tripod. You put the tripod through its paces and find that it's keeping images much more stable than your last tripod. Both the head and the tripod seem to simultaneously break about 6 months later, so you buy another set. When that one breaks about 6 months into its life again, you determine it's time to upgrade and get a slightly better tripod. Your head is still fine, so you spend $250 on a tripod now. You feel like you've gotten the creme de la creme of tripods now. A few local people start to hire you and purchase a few of your small canvas prints of the local landscape and you begin to take photography seriously as a career.
Your family decides they want to go on a spring break road trip to the southwest and from all the images you've idolized taken at the Grand Canyon, you are ecstatic. You decide you want to learn from a "real" landscape photographer, so you find a local pro and book a workshop with him. What you didn't realize about the Grand Canyon in March was that it sits at 7000 feet elevation and gets snow - a lot of snow. You barley make it into the park and this perfect stranger greets you and gives you the rundown for the 5 am wakeup call. The next morning is beyond frigid - the snow storm had cleared and the temperatures were around 0 degrees Fahrenheit with a high relative humidity....and windy as you couldn't believe. You came prepared with plenty of clothes and you're dedicated to this art of landscape photography, so you stick it out and create a few images, but your gear doesn't hold up so well. Your $250 tripod freezes up and you can't collapse the legs, plus the aluminum feels about 15 degrees below the air temperature and the head that came in your last tripod package barely moves either. The wind batters your tripod and you realize you're only getting sharp images 1 out of every 10 exposures. You fight the gear for about an hour past sunrise until you both decide to call it a day and go eat breakfast. Over breakfast, this stranger that you've now bonded in the sub-arctic temperatures with explains to you that if you're serious about landscape photography, there's no substitute for a good support system.
After you get home, your peers are stoked about the images you made out at the Grand Canyon and even buy a couple small canvas prints. You decide the head has to go, so you upgrade to a $150 ball head and it is a dream to use. It breaks a year later and the company didn't have a decent repair service, so you were forced to buy another. You decide you're over the cheap gear and you really want to take photography seriously, so you upgrade to a professional level tripod and head and you still own it, years later.
Sound familiar? Well that was my story (more or less), as I'm sure it's similar to a lot of those who will read this. All in all, I spent nearly $2000 over the course of about 2 years on tripods and heads that continuously could not be trusted. The tripod and ball head I now use retails for about $1,100.
Now, I'm not saying everyone should go out and spend a thousand dollars on a tripod setup for their first camera they own. Everyone will have that floor lamp of a tripod at some point in their long history of their passion for photography. What I caution to you is to upgrade intelligently. There is a reason your $100 tripod broke. There is a reason it freezes up in sub-zero temperatures. My general rule of thumb is that your support system should cost no less than 20% of the gear sitting on top of it. For example, a modern "inexpensive" pro-level DSLR and 24-70 lens will run you about $3,000, so spend $600 on your tripod and head, if not more.
You wouldn't put discount tires on a Lamborghini, so why have $100 sitting below your medium format digital camera?
Below, I have compiled a list of my favorite gear, spanning the full price range for those of you interested to know what I would (and do) use.
- Manfrotto MT055XPRO3 Aluminum Tripod - $250.00
- Best bang for your buck for the leap from that floor lamp of a tripod.
- Manfrotto MT055CXPRO4 Carbon Fiber Tripod - $500.00
- For when you first realize that aluminum gets really cold, really quickly.
- Gitzo GT3542L Mountaineer Series 3 Carbon Fiber Tripod - $995.00
- "The one tripod that rules them all." - If I had to own one single tripod, this would be it. Although I have a love-hate (mostly hate) relationship with any center column, it is removable in a super-cool way.
- Gitzo GT1545T Series 1 Traveler Carbon Fiber Tripod - $740.00
- I own this and I love it - I use it for backpacking and when I travel anywhere on a plane.
- Gitzo Series 3 Systematic Carbon Fiber Tripod - $925.00
- "The other tripod that rules them all if you don't like center columns - like me."
- Gitzo Series 5 Systematic Carbon Fiber Tripod (Giant) - $1,600.00
- Great for getting shots from a ladder (it happens, trust me) and great for supporting a super heavy load like my 8x10
- Manfrotto MHXPRO-BHQ6 XPRO Ball Head with Top Lock Quick-Release System - $200.00
- Don't buy anything less expensive than this. This should be your first head.
- Gitzo GH3382QD Series 3 Center Ball Head - $450.00
- If you want to stick with the same manufacturer of your tripod, you can buy this in a package with it
- Arca-Swiss Monoball P1 S Ball Head with Classic Quick Release - $460.00
- I really enjoy this "inverted" ball head. It allows for more control due to the head rotating around the ball.
- Arca-Swiss Monoball P0 Ball Head with Classic Quick Release - $391.00
- My backpacking / travel ball head of choice. You can't beat it.
- Arca-Swiss C1 Cube - $1,650.00
- If you shoot a heavy large format (or any camera) I can't stress to you enough how incredible this head is. I own it, and I'd buy it three more times if I had to. Read my review, here.
- Arca-Swiss D4 - $1,250.00
- I use this for my smaller cameras like my 4x5 and Linhof 6x17. Still packs a punch and the microadjustments are crucial to precision compositions and camera control.
For information on purchasing Arca-Swiss equipment, I highly suggest contacting the USA representative, Rod Klukas by visiting his website or shooting him an email at email@example.com. He can assist you with purchasing any piece of Arca-Swiss equipment you could desire and lead you in the right direction, offering you years of insight and help you find the perfect setup for you.
I'm fortunate to announce that I will be a part of the Visions of the Flint Hills exhibition at the Buttonwood Art Space in Kansas City, MO. This show will run from October 7th through November 25th and I will have two pieces in the exhibit. I'm incredibly excited to have the opportunity have my work from the Flint Hills of Kansas be represented in the show. There is an opening the evening of October 7th from 6-9, which I will be attending and I hope to see some of you there!
"VISIONS OF THE FLINT HILLS BENEFIT AND SALE is a juried exhibition featuring art of this vanishing prairie. All artworks depict or are derived from the Flint Hills area of Kansas. The exhibit will run from October 7 through November 25, 2016, in Buttonwood Art Space, 3013 Main Street, Kansas City, Missouri, 64108.
For eight years Buttonwood Art Space has supported the Flint Hills area of Kansas and its unique place in our greater regional ecosystem through this annual art benefit. Visions of the Flint Hills Art Benefit and Sale is a juried exhibit featuring art of the Flint Hills. Sweeping paintings of sky and native prairie grass dominate the show, but sculpture pieces, fiber worksand photos are also featured. The art is on exhibit October and November, in Buttonwood Art Space.
Proceeds from the event will benefit a non-profit organization, Friends of the Konza Prairie, a 501(c)3 organization which is involved in supporting the Konza Prairie, an 8,600 acre research and educational preserve south of Manhattan, Kansas. The Flint Hills are the continent’s largest remaining tract of Tallgrass native prairie which is also one of America’s unique places. It harbors a wealth of adventure, beauty, and history. The region’s sweeping horizons and carpets of wildflowers captivate artists and enchant visitors."
In modern digital photography, every new camera model announces its increased dynamic range, or ability to capture a broad range of light. All camera manufacturers are fighting to exceed their last model and their competitor's model, growing what seems to be an endless data sheet into a camera that can see in the dark, in all spectrums of light, can capture 10 gigapixels of data, and is essentially noise free...oh, and can also successfully fly into an erupting volcano. While I am all for the advancement of technology, part of me cringes when I see these specifications on all new camera bodies. What's missing in so many modern photographers is the ability to see and capture quality light. Mind you, I am writing this in the perspective of a landscape photographer. The advent of modern digital cameras have their place in other photographic mediums and strongly believe are important for the industry, so take what I say with a grain of salt.Read More
The Flint Hills of Kansas is a beautiful place, both in its landscape and its details. Entire hillsides are dotted in limestone and flint deposits and can stretch for miles. These are evidence of an ancient seabed, which once stretched through Kansas and have since left gorgeous boulders scattered across the entire landscape. In late spring, after the annual prairie burns, the grasslands come alive with a brilliant shade of green that you have to witness to believe. Sunrise is my favorite time in the Flint Hills. Hearing the prairie awake for the day reminds me of a symphony tuning and preparing to perform a piece. The birds begin to chirp and sing, eventually taking flight, the wind slowly begins to blow, the cattle on the range awake and begin to rustle around until the sun crests the horizon, bringing light to the entire landscape. That's part of the reason the prairie will always be my home.
While spending a few nights out in the Flint Hills of eastern Kansas, I had the wonderful experience of waking up to this beautiful sunrise. Hearing the creak of the old windmill in the slight, early morning breeze, the whisper of the Kansas tallgrass prairie, and the whooping sounds of the common nighthawks is truly experiencing the open prairie and is unlike any other landscape I've ever photographed. It's home to me. This is the Kansas I know and love.
- Camera: Arca Swiss F-Line Metric with Micrometric Orbix 8x10
- Lens: Schneider Symmar-S 240mm f/5.6
- Exposure: 4 seconds @ f/22
- Film: Fuji Velvia 50
- Tripod Head: Arca Swiss Cube C1
This past December marked my first trip to Yosemite National Park in the winter. I had been watching the weather for months, waiting for the right weekend to drop everything and head out. My friend Mark Gvazdinskas (if you haven't done so already, check out his work) and I took off on a Friday afternoon, hoping for the best - the forecast showed up to a few inches of snow in Yosemite Valley. Mark had never been to Yosemite and I'd never spent much time in the valley itself, so it was a bit of a learning experience for the both of us. Temperatures on Friday night dropped well below freezing, and we woke up to a beautiful, clear winter morning - not ideal, but what can you do? A day spent outside is a day well spent. We continued to poke around the valley, photographing a bit, but otherwise just soaking in the beauty of the valley. When it finally started to snow on Sunday, we had to head back home, but not without stopping a few times along the drive home. In the high country of Yosemite, we found a pull-off that looked promising and decided to get out and look around in the forest. There had been a fire a few years before and the undergrowth was thick with young ponderosa pine trees. Ponderosas are one of my favorite trees to photograph, especially in snow. Their naturally red appearance contrasts the white and blue tones of the snow that can create absolutely wonderful scenes, so when I found this grove of ponderosas, I became quite excited. This composition originally sparked my interest due to the range of life present. The two old growth trees stood in a bed of young trees, while the dead looked on in the distance. Immediately, I grabbed my gear and set up the shot on my 8x10 camera. By the time I had found the composition, set up the shot, composed, focused, and exposed a sheet of film, an inch of snow had fallen on my vehicle. Keeping the camera dry and free of ice on the ground glass was incredibly difficult, but the scene turned out exactly as I had imagined.
This image is available as a limited edition fine art photographic print. If you're interested in purchasing this image, click the button below. If you have any questions, feel free to contact me for more information.
Sand dunes are somewhat of a photographer's paradise - at least for me. After living on the central coast for almost six months, I had never so much as heard about these, let alone ventured out here. After just receiving my Mamiya 7ii a few weeks earlier, I decided there was no better place to give it a test run than out at the dunes, which was practically in my back yard. Late fall in California marks the end of the dry season, and the dunes were feeling it. The wind had been blowing all day, and about two hours before sunset, it subsided leaving the perfect ripples.
Clear skies are typically looked down upon with landscape photography. The texture in the sky adds interest and the reflected light from a layer of clouds illuminates the land. In the sand dunes, however, photographic opportunities are endless. With severe clear skies, I looked toward the texture in the sand.
Over the past year, I have been devoting a fair amount of time studying photographic art. I stumbled upon the work of Edward Weston when visiting Carmel, CA. Flipping through a book entitled "Dune" I realized the work was created less than five miles from my home in the Oceano Dunes. His work inspired this small I created on my Mamiya 7ii, all on transparency film. All are available for purchase, so please contact me if you are interested.
If you follow me on social media, you will have already heard this by now. My wife Jes and I are leaving this beautiful state of California at the end of this week. The past year and a half that we've spent here have been filled with unbelievable moments and the people we've grown to know and love here will be friends for life. While this may mark an end to us being here, it creates a new beginning for us. Jes will be pursuing her passion in art, working as art director at a local non-profit art gallery and I will be pursuing my dream of working full time as a fine art landscape photographer.
The support we've had from all of you who have purchased my work, given me praise, or even silently read through my posts are what have led us to this point in our lives - and I thank you. Without you all, this would not have been possible.
With that, I am going to be traveling extensively. I have several projects I'm going to begin working on based out in the Great Plains as soon as I arrive next week. From there, I will be headed into Colorado, the desert southwest, and back to California sometime this coming winter.
California is somewhat of a dream location as a landscape photographer, with diverse landscapes all at your fingertips. Having a full time job, it's a perfect place to be - hit the beach after work for a nice sunset or maybe wander out in the dunes before work. Now that I have the freedom to be wherever I need to be with no time constraints, there's no better option than to be in the center of the country. I plan on coming back to CA at least twice a year, but I look forward to seeing new landscapes and living in the place I consider my photographic home - the Great Plains.
While this may be goodbye to this place, it's all just the beginning for us. Big things are coming, and a ton of film is about to be exposed. I have much more work I've created while in California that will be released progressively throughout the year and more and more new work will be on its way. Keep a look out on my social media for behind the scenes photos and subscribe to my newsletter for other news.
This image has been waiting to be released for quite a while. I found this vantage point almost a year ago now returned about five times waiting for the light to be just right. I exposed this image late last summer as a rare summer storm was about to hit the cliffs of Big Sur. As the storm moved in, about fifteen minutes after the sun had set, the clouds erupted in a bizarre purple hue unlike I had ever seen in this particular location. I only had time to expose one sheet of film for a 2 minute exposure before the light had changed and the color was gone. On the way home that evening, lightning was hitting the sides of the cliffs. Coming from Kansas, close encounters with lightning doesn't seem to be that big of a deal, but in Big Sur...or really anywhere in California, that's some big news. Talk about a crazy night!
I also had help on this particular evening. Thanks, Charlie.
This was also the first 8x10 image I have had professionally drum scanned on an Aztek drum scanner. For those of you who don't know what this is, it is essentially the highest quality digitally converted image you can get. To give you an idea of just how detailed this photograph is, below is a 100% crop of this image.
Yes, that's a house, and yes, we are all quite envious of this individual's back yard. But the point is, this is a single exposed image and I can almost bet none of you can find where this house is in the full sized image. With that being said, this image can be printed with incredible detail and clarity up to 48x60". Pretty awesome, if I do say so myself.
Because this was my first drum scan, I thought I'd go ahead and get it printed and framed as well, so a couple of months ago, I received the first edition, framed by my friend David at Saw and Mitre.
Here is the first edition. It's printed 24x30" on photographic paper and finished off with a beautiful walnut frame. When this image is hung, it really brings a sense of peace to the room. If you'd like this exact image (#1/90) framed as shown above, click the button below to add it to your cart!
If you'd like to purchase this image in a different size, follow the button below.
Growing up in Kansas, I have always felt that there's no better place in the world to watch the sunset. Nearly everywhere you may find yourself in the state, you are likely to have unobstructed views of the entire horizon. Flatter than a pancake, right?
Kansas has always treated me well and continues to do so all the way out in this big state of California. If you were following my work a couple of years ago, you may remember that the Kansas Alumni Magazine did a short story on my work. I was currently an engineering major at KU and my love of photography resonated with them. After I graduated in 2014, I kept in touch with the magazine regarding the progress of my career. When Chris Lazzarino heard of my new book, Kansas: Birth of a Vision, he decided to pitch another story to his colleagues regarding this book.
Well, if you're a recent KU graduate or are a member of the KU Alumni Association, be sure to snag your most recent copy this week and take a look for a familiar face! The story very much captures the process of my workflow and offers a little insight on the creation of some of my images. It's incredibly well written, and sheds a little insight on just how nuts I am about creating these images I share with you all.
If you don't happen to subscribe to the magazine and still want to read the story, follow the link below! Thanks to everyone involved at the KU Alumni Magazine for making this a reality, and thanks to you all for being just as proud of Kansas as I am.
And just so you know, preorders are flooding in for my new book. If you haven't done so already, head on over a order yourself a copy now!
Well this is the "big" announcement you've been waiting the past few days for - I'm releasing my first book!
About a year ago, I moved away from Kansas and now live on the central coast of California. I was born and raised in Kansas and its the place where I began my journey as a photographer. From the farmlands and prairies of the west to the rolling Flint Hills in the east, Kansas is where I learned to see.
Most view Kansas as a "flyover state" or scoff at the fact that I called this place my photographic home. When meeting people and introducing myself as a landscape photographer from Kansas, their typical response was, "Wow! You must travel a lot." While I do travel quite a bit, even living in the state of California, their response was mildly insulting. Growing up, there was never a moment where I believed Kansas to be ugly and it was disappointing to me that even some of the residents of Kansas did not appreciate the beauty of the state. Until you've stood beneath a storm more powerful than you can fathom, or witness a sky light up like they do in the Great Plains, you have no justification what natural beauty is.
Leaving Kansas has been bitter sweet. It's a place I truly love to photograph, but given the opportunity to live and work in such a place as California is an opportunity I couldn't pass up this early in my career in nature photography. Galleries have began to approach me, I've gained more collectors in 2015 than ever before, and people are beginning to recognize me as a credible artist. This wouldn't have been possible, had I not loved the beauty of Kansas.
There is much more to photography than a beautiful image. When you all see my work I've created along the pacific, I hope you can hear the seagulls - smell the ocean air. If you ever been here, you'll know what I mean. But if you've ever been to Kansas, standing in the middle of a wide open grassland and watching the sun rise is unbelievable - that's where my drive as an artist is driven from. Emotion.
This book is for my home and the people who live there and appreciate where they live. It's for those who have believed in me and what I was doing and have supported me from the moment I picked up a camera and began this journey. It is a 70 page book that combines a collection of 33 of my favorite photographs I created in Kansas with a brief introduction of the motivation behind this project.
I hope that if you're reading this, you can understand the love I have of this place and can join me as I share what I've created while living there. If you'd like to purchase the book, you can follow the link below. I am accepting preorders as of today and intend on shipping out the first copies the first week of March.
Thank you again for all of your support throughout the years and I hope you continue to follow along with me as I take this next step in my journey.