Photography is a universal language. In our increasingly visual world, it is becoming more important to be able to photograph fluently. This mysterious process in which electrons react with a charged surface to suspend moments from life can change policy, can make us laugh or cry, can teach us about aspects of life that are foreign to us, and can teach us about ourselves.
To paraphrase photographer Paul Graham, photography can be ridiculously easy or it can be painfully difficult. In my workshops, I strive to find the middle ground, where students think about their motivations for taking a certain picture, where they celebrate the occasional gift that spontaneity brings, and where they learn new ways to consider projects, approach people or look at situations. It's all about being open to possibility while putting yourself in the places where good photographs live.
I'm a contributing photographer for The New York Times, and have worked in the United States, Africa, Latin America, Europe, and the Caribbean. My pictures have appeared in countless publications around the world during my almost 25 years as a photographer.
A painter gave me a camera when I was 11. The first time I used it was in a ghost town outside Cody, Wyoming. The painter's gift led me into a life of self-discovery through the exploration of visual ideas around the world. It's a way of living- to embrace each moment of life with intention and intensity. That painter gave me the key to a creative life, and it has made all the difference. That painter was my mom, and I try to honor her life with my pictures.