“Light and Lens - Photography in the Digital Age”, textbook, pg 251, Robert J. Hirsch Sept. 2007
“Camera Arts”, Krappy Kamera Show, my image on pages 24 / 25 May – June 2007
“Exploring Color Photography”, textbook, pg 177, Robert J. Hirsch July 2004
“The 2River Review”, Spring Issue 2004, cover of poetry review Pitsburgh, Pa. April 2004
“CONSTELLATION, celebrating the Center’s first 25years” CPW, Woodstock May 2003
“SHOTS #79” quarterly of Photography, Minneapolis, MN, pg 42 March 2003
“Digital photography & design” Australia Issues 15 & 16 March & June 2001
“The Hudson Valley: Our Heritage, Our Future”, Poughkeepsie Journal May 2000
"Black and White Photography / Manifest Visions", James Luciana Mar. 2000
"The Art of the ENHANCED PHOTOGRAPH", James Luciana Mar. 1999
"LAKE GEORGE ARTS PROJECT LITERARY REVIEW" Nov. 1997
"VIEWFINDER"# 20, Focal Point Gallery, City Island July 1996
"KOBE AID FUND", Tokyo, Japan Jan. 1996
"SIGNS OF THE TIMES", CPW CENTER QUARTERLY #58 Feb. 1994
"TRADITION ... UNPREDICTIBLE", Muse. Fine Art, TX Jan. 1994
"THE PHOTO REVIEW" Phila., Summer issue Aug. 1993
"EAT" Russell Sage Coll., Edited by Ken Johnson April 1992
"NEW RELATIONS ..." CPW CENTER QUARTERLY #50 Feb. 1992
"THE CONSTRUCTED IMAGE" catalog, M.A.S.C. Pough., Feb. 1991
"BODY LIGHT-Passages in a Relationship" monograph of my work Jan. 1989
"26 PHOTOGRAPHERS" 1982/83 CAPS Fellows pg.17 Oct. 1983
"NEW AMERICAN NUDES" Morgan & Morgan pg.54-55 May 1981

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I began studying Photography around 1965 at the Institute of Design in Chicago. My studies with Aaron Siskind, Joe Jachna, Arthur Siegal and Wynn Bullock gave me first hand experience with truly creative photographers.

At the Art Institute of Chicago around 1967, I began photographing the nude with Wendy, my wife, and I began making multiple image prints. Then for over fourty years I explored various techniques and processes while photographing the nude as a central theme.

In 1998 I began to work with pinhole photography. I use an oatmeal box pinhole camera to make 8x10 inch B&W negatives. With its extreme wide angle and distortion, the camera gives me results that are constantly a surprise. I develop the B&W negatives, scan them into Photoshop, and then colorize the image by pulling curves in each of the channels. I make an images rooted in 16th Century pinhole optics juxtaposed with 21st Century digital print manipulations. These newest photographs of mine are a hybrid of Photography and Digital Printmaking.

I currently head the Photography program at Marist College in Poughkeepsie, New York where I teach photography classes and an Introduction to Digital Media class.