I trust that your summer has been going great thus far. For me, I’m eagerly awaiting some cooler temps and relaxed weather. I’m not sure how it’s been in your area, but here along the coast of the Southeastern US, we have had an abundance of rain and severe thunderstorms, hence the choice of this issue’s cover image. I’m also looking forward to the start of school so that the crowds will thin a tad. Even though I have the luxury of doing my field work during the middle of the week, it can still be crowded at the beaches this time of year. That said, I’m happy to see everyone enjoying the summer break with their families, so all is not lost. 


I suppose I should start this newsletter by answering the questions and curiosities about how my solo exhibition, In Different Light, has been going. Well, the short answer is that it has been pretty great! Opening Night was a nice success in that 4 prints sold that very night and I was able to connect with family and friends that I don’t see often, as well as meet many new friends. The turnout was wonderful and even though it was a bit lighter than a normal First Friday due to falling on a holiday weekend, the crowd was still ample, and I was busy making my rounds to visit with everyone all evening. Heck, I’m not sure I could have handled many more, though I would have gladly tried my best. Haha. 
This show is being hosted by the Southeast Center for Photography in Greenville, South Carolina and will be running until August 25th. If you are in the area I sure hope that you will find some time to stop by. Also, I will be there for the First Friday in August, which is this week on the 3rd; I’d love to see you there if you can make it. I have 24 prints from 4 bodies of work on display and even though you might see a red dot below some of them (indicating that particular print has sold), that does not mean you cannot get the same image; I’d be honored to print the next number in line for your home or office space. 
Below are a few images of the show as well as some pics from Opening Night itself…





With the topic of my solo exhibition on our minds, I think now would be a great time to discuss what fine art photography is exactly and how it is different from ‘normal’ photography (if there is such a thing). At first many may not recognize the difference but they are not at all the same thing. Fine art photography (or fine art in general) is about the artist and what THEY see, not what the camera sees. Rather than capturing reality and presenting it as such, the artist uses the camera as merely one of many tools to express their VISION of a given scene. It is a means of communicating feelings, emotions and a story in a visual representation that would otherwise be left untold.
In more general photography, the photographer is typically trying to best represent the scene as it was upon capture, and there is absolutely nothing wrong with that. Let me repeat… there is absolutely nothing wrong with that! However, it has never been enough for me to just make a capture and present it to the world. I have things to say, feelings to express, and I’ve found no other way to do that with the exception of creating imagery based on my inner VISION, thus moving away from general photography and into fine art photography. I know, I’ve discussed this a thousand times and you’re probably sick of hearing it. I'll try to make this the last time in my newsletters that I bring it up—for a while. Haha.  
Anyway, back to the point… fine art photography takes a given scene and changes it drastically so that it becomes far different than what was truly there upon capture. While it may be different on the surface of what was there, it is exactly how the artist intended it to be. It is exactly how the artist FELT it, not how the camera saw it.
Many times, this effort causes drastic alterations to the captured photograph. While some may view this as ‘wrong’ and believe that a photograph should not be altered, I am in the other camp that believes there is simply no other way to express artistic feelings—in this context—by simply capturing and presenting a scene as it was. Heck, if filmmakers did that, it would sure make pretty boring movies, don’t you think?

I suppose the bottom line is that fine art photography is creating something MORE than just a photograph. It is a representation of the maker's inner being rather than a representation of the scene they stand in front of. 
Below are a few ‘before and after’ pics that show just how far my images come in an effort to become a fine art photograph. I believe you will agree that the final image looks much different than what was truly there upon capture. And to answer the question in advance, yes, these images are all produced with the ‘tangible’ fine art print in mind.  

Eminence – SHIELD
Eminence – CROWNED
I am very happy to report that this image scored a perfect 100
at the Professional Photographers of America, Southeast Regional Competition!
Desolation – INLET
Breakwater Poetry – DIRECT ENTRY
Stay tuned for the discussion in the next issue about the differences between Limited Edition and Open Edition prints and why I choose to go the route of limited. By the way, this ties in closely with fine art and will be a good follow-up.


I have been asked by a few people recently about workshops, and I have some answers. I am now beginning to offer one-on-one workshops & training, which can be booked at any time. I will also begin to offer group workshops and those are currently in the planning stages. Working in conjunction with Soul Road Trips (home-based in Colorado but traveling the globe), I will be putting together a long exposure group workshop somewhere along the east coast, likely near the Charleston, South Carolina area. Stay tuned for an email blast about that one or contact me directly to schedule your individual session(s) now.  
Also, in the next edition of 3HREE, I will be discussing some gear. This is normally not a topic I talk about much, because as mentioned above, my gear is merely a tool to aid in the end result. However, while it may all come down to VISION, gear is certainly a very important aspect. I have made the switch to all manual-focus, prime lenses in the form of Zeiss Milvus and I will discuss how that has changed (for the better) the approach to my field work. I also made the switch from a backpack to a hip bag in an effort to get my ‘office’ in a working position on my body; putting my bag down on a sandy beach is simply not the answer. Stay tuned for the details in the next edition. By that time, I will have had several months of ‘testing’ under my belt and will be better prepared for a thorough analysis of it all.


Frequencies – BROKEN
Frequencies – TRANSMITTING


Thank you to Wine Country Camera for their continued support of my photography. I would not be able make my long exposure captures so easily without the world class filters and filter holder system from WCC. 
Thank you to Michael Pannier and the Southeast Center for Photography for your support of my works and for giving me the opportunity to exhibit In Different Light this summer. 

Why '3HREE'…

From the Great Pyramids of Giza to the ellipsis in my logo, the 'power of 3' exists in all things natural, spiritual, and creative. Like a perfectly weighted fulcrum providing balance to our lives, the power of 3HREE is real!
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211 River Landing Drive, Unit 260
Charleston, SC 29492

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