Before I started to devote myself full time to my personal work, I spent 40 years in the world of commercial photography. My photographic focus was on corporate offices, factories, oil refineries and aerospace companies with dark busy manufacturing facilities. I learned that my job title was not “photographer.” What I really was - a problem solver. Over the first few years, I developed a style that, with the help of artificial lighting, helped me to see past the clutter and create photographs that were more design than immediately recognizable objects. I worked with whatever was there, all the mundane things that most people walk by or do not notice. I saw great imagery in graphic shapes, shapes that repeat, like patterns in ceilings from ugly fluorescent lights or rows of desks or chairs. It was a created opportunity instead of found. Now, for my fine art landscape photography, I found I apply the same organizing principles and inspiration I used for my commercial work. Simple shapes, graphic lines, eliminate clutter. Light when necessary. Repeat. Why do my landscapes look the way they do? Is it because of where I choose to shoot in Eastern Washington State, Montana and New Mexico? No, my images look the way they do because of what is inside of me. I gravitate to the bleak, lonely and isolated because of what resonates, a reaction to experience, spirit and instinct. I learned long ago to trust my vision and not second guess things like composition or light or content.