As is often true of photographers, the subject matter is varied because it is a response to whatever draws one’s eye, wherever there are emotional and visual affinities. Because my professional life in the seventies in New York teaching emotionally disturbed adolescents was confrontative, stressful and very demanding -- as was life in the City as well, photography became for me a balm, a respite, a way to find serenity and solitude. So while many of my peers were drawn to the drama of the City and taking gritty black and white street portraits, I shot mostly interiors, “found” still lifes or when I traveled. I preferred color at a time when it was derided as “snapshots.” The phrase “pretty pictures” was damning praise. I can still recall during that period the first ever color photography show at the Museum of Modern Art.  Serious photography at that time and for many more years thereafter was black and white. An exception and early inspiration was the exquisite color work of Marie Cosindas. I had the exciting and fortuitous opportunity to take a workshop with her a few weeks after I moved to California.

 I have tended to use a limited palette in my photography, which can range from the saturated reds of the Cibachrome process to softer, more painterly tones of C prints and even softer pastel-like hand-tinted work. I have been told that my photographs are like paintings and my paintings are like photographs.

 Though I am less active in exhibiting my photography professionally, I continue to shoot since the camera has always felt like a lover. Trekking around photographing on my own more intensely and intimately connects my interior and exterior worlds. It is as zen an experience as one can have. Recently, as is the case with just about every professional photographer I know,  I have switched to a digital camera and play with the images in Photoshop in some of the same ways I used to manipulate them in the darkroom, but with an infinitely wider array of options.