area intent on using my creative talents to make a living. I drove a taxi, worked as a telemarketer, was an extra on TV shows and assisted on photo shoots to make ends meet. One day my fellow telemarketer said I should talk to her friend who was a television editor. Turns out they had a huge project starting and needed an assistant right away. It was the dawn of the digital editing revolution and I was blessed with creativity and a knack for tech so I graduated from assistant editor and soon started to edit full time. Fast forward 5 years or so and Canon comes out with their first prosumer DSLR, the D60 with its 6.3 megapixel sensor. I was hooked. No chemicals or darkrooms and by now from television editing I had all of these digital skills like Photoshop, compositing, color-correction and processing and most importantly a much more mature, cinematic eye. I had a blast with that D60 shooting friends weddings, trips, headshots for actors, but editing had become my main gig and by that time I was working long hours for the major broadcast networks. I would still shoot for fun, but didn’t pursue it professionally. Then on a trip to New York City my camera was stolen. I can still see the face of the thief’s accomplice. He looked like a crazy-eyed Dave Chapelle who had quite a gift for gab. I’m betting he must have at least French kissed the Blarney Stone. It was a slick two man job at a deserted bus stop late one night when I was on my way to the airport. Dave Chapelle’s crazy-eyed brother distracted me while the other one silently rifled my luggage and made off with the camera case. Little did I know that would be only one of many New York City sagas for me because a couple of years later I finally got so fed up with L.A. traffic that I pulled up the tent stakes and took the show to the big apple. Editing full time, no camera. Four years without a camera. I missed shooting and really understood through this experience that I didn’t want to spend all of my time in an edit room disconnected from life and my ability to see things uniquely and document them with the art of still photography. I connected with a yoga community that needed photographers to document one of their big festivals so I got myself a Canon Rebel and used some old SLR lenses my aunt donated to the cause and was shooting again. The job went amazingly well and there were tons of great photo ops to get my creative juices flowing again. I did more yoga festivals travelling to Taos, NM and the Berkshires in MA and also worked with some models in NewYork all while still holding down a full time network television job. TV was paying the bills (and paying for camera gear) but not feeding the soul so I decided it was go time. The opportunity was there to make the changes needed and really commit to the art and business of photography. Although I do still love editing (I’m currently working on a documentary about indigenous midwives around the world) I enjoy it infinitely more now that I’m not stuck high up in a Manhattan skyscraper. Most importantly it feels great having the time I need to slow down and experience more fully the world around me. A photograph is a visual time capsule, a representation of a particular time and place, but it can be much more than that if the photographer is tuned in to the deeper immaterial reality around them. Only then can a photograph transfix the viewer and give them that sense of timelessness, a sense of the spiritual reality that exists beyond the veil of this material world.