In 2012, I needed to bring my hand back to my photography. A decade plus in the nineties was spent in the darkroom, processing film and printing my images. Then emerged the digital age, when our cameras were converted into computers. My hand held the camera at the point of creation, and my hand waited to catch the print as it exited the printer. Every aspect is mechanical and software driven and photographs have become white noise, genetically modified pixels. The turning point was a flight home from San Francisco with a fourteen-year old pixie of a girl sitting next to me with ten differently painted fingernails using Photo Shack to dodge and burn her Chihuahua on her iPhone.

A month later, I sat at my desk looking at the photograph I had just done for Vanity Fair of Bobby Kennedy Jr., and I just felt that there could be more. There had to be a point of departure. Those initial thoughts drove me down to the art supply store, and I started experiments, until I landed on the right combination of elements, and saw an image slowly render before me as a print would in the oversized trays of my darkroom. I have infused my spirit and love for the craft back into the process, and the photograph for me now feels complete.