I have been a photojournalist, writer, communicator and historian for most of my life.
I gravitated to the work of W. Eugene Smith, and the Magnum photographers; Henri Cartier-Bresson, and Joseph Koudelka. Their common approach became my mantra: make images that tell a story; remove yourself; disappear; leave out the vanity; and, make emotional and elegantly composed images that point to a truth about your subject.
I began my Formula One documentary in 1972, just nine months after I first began to make images.
Although underage, I was able to get full accreditation for the United States Grand Prix at Watkins Glen. I was immediately swept up in the tangible drama of the pit lane and its compelling images. From 1972 through 1984, I captured the intimate moments of drivers who fought to survive in a Formula One era that was rapidly undergoing the most comprehensive changes to drivers, cars and technology in Grand Prix history.
Early on, it was clear that these technological developments were influencing the spirit, passion and bravery that I was recording of that time, and so I decided to adopt the style of Cartier-Bresson and become “a fly on the wall”; getting as close as I could to the telling moments without influencing the emotion or the drama of the moment.
I consciously backed away and didn’t go looking for moments; I just waited to let those moments compel me to make an image. And, as luck would have it, I witnessed and recorded hidden moments that became pivotal incidents in Grand Prix history.
After positions at the Chicago Tribune and Observer Newspapers in Detroit, I began a 20-year association with Car and Driver Magazine, traveling the world to provide art for over 600 feature stories and numerous covers.
As always, I pursued personal photographic projects, capturing the human condition outside of my newspaper and magazine work.
I also expanded my photography by providing creative content for media and marketing materials for many of the largest multinational automotive manufacturers in the United States. Clients included: Audi, Mazda, BMW, Volkswagen, Porsche, Ford, General Motors, Kia, Subaru, and Jaguar.
I transitioned my photography to include writing and editing in 1998.
In 2001, I joined Mitsubishi as Senior Manager of Media Relations, helped launch the Lancer Evolution 8. I became Manager of North American Motorsports in 2003, winning the SCCA Pro Rally Championship Manufacturers’ National Open Class title with the new Evo. From there, I went on to provide public relations management for another multi-national Japanese auto company for a further eight years…
Throughout these decades, I could never forget the intimate Grand Prix images I had captured and the experiences of being a “fly on the wall” in the world of Formula One.
So, I am reclaiming my soul with this collection of never-before published Grand Prix documentary photography. I believe they offer unique impressions of amazing driver’s and athletes, and moments that changed their lives forever.
The initial presentation of my images took place in the fall of 2013 in Hong Kong, courtesy of an exhibition hosted by Blackbird Automotive and in conjunction with McLaren’s 50th Anniversary. My collection and memoirs will become the basis for a forthcoming book in the near future.
I have also returned to creating new digital work, in both monochrome and color, on fresh editorial assignments and personal sports projects that will again allow me to record human drama, struggle and grace, with all its emotion, patina, and nuance, such as Macau’s growing influence on Formula One.
And as before, I’m enjoying a creative adventure lived as "a fly on the wall."
Thank you for joining me on this continuing journey.
These abstractions, even original creations of Sails & Rods' partner artists, reflect our initial philosophy. It's a question of participating to give a soul to your universe, professional or personal, by proposing to you incredible pictures of art having stories to tell !
Pricing is the same whatever the final product BUT contact us in order to find together the best finish for your project...
Abstract created from the leaves of Traveler Palms in Florida, Portugal's Algarve or Mexico beaches. The patina colors of this Traveler's old bark suggests sunset on the road to the red waters of Laguna Colorada near Salar de Uyuni, in Bolivia.
No two Traveler stalks are identical, and when photographed with a macro lens, their distinct markings form the basis for unique abstract images that open the door to finding unlimited other worlds. Some mimic swirling tableau of painterly textures or color-streaked desert landscapes where still others suggest the flavor of old master canvases or the allegorical woodblock prints of Hokusai.