Photographer Bio

 I was introduced to golf at the age of 8 by my grandfather, who at the time was the superintendent of Brown Deer Park Golf Club, the past home of Milwaukee's annual PGA Tour event.  On weekends and during summer vacations I would often ride with him to work in the morning and play or practice until he found me and took me home in the evening.  Those were wonderful days, and feeling completely at home on a golf course became an integral part of who I am today. 

While I was in fifth grade my father set up a photography darkroom.  After just a session or two in the darkroom I became enthralled with the concept of making images appear on a piece of paper using nothing but light, some chemicals and my imagination. 

By the age of eleven I had found the dual passions which would guide the rest of my life.

Formal Education

I lead my high school's camera club all four years in high school while also earning 5 varsity letters in football, baseball and track; serving as editor-in-chief of our senior yearbook; and graduating 6th in a class of 368.  I went on to play football at the University of Notre Dame and graduated (magna cum laude) in the top 10% of my class with BBA degree in Marketing, an Advertising specialty and a minor in Psychology.

By the time of my college graduation I had become deeply interested in the area of golf course design and had already visited, studied and photographed -- primarily for my own records -- hundreds of golf courses throughout the US.  Seriously considering a career in golf course design, I applied and was accepted into the Master's Degree Program in the University of Colorado's School of Urban Planning and Landscape Architecture.  The specific track I selected was a 3 year program which would lead to dual Master's Degrees in Landscape Architecture and in Regional & Urban Planning.  Before beginning my graduate work that fall, however, my senior year photography thesis at ND was picked up and published by a magazine with worldwide circulation in more than 30 countries.  The essay garnered significant critical acclaim and that complicated what had seemed, until then, to be a fairly straightforward career choice.

As often happens, unforeseen events played a major role in shaping that choice. I was still studying and photographing courses whenever and wherever possible, but instead of keeping the photographs strictly for my own use, courses began asking to buy the rights to use those photographs for their own advertising or for clubhouse decoration.  It did not take long to figure out that charging courses to have me come and study them was a better idea than continuing to spend my own money to travel to and study those same courses.  I soon discovered that I relished the challenge of capturing different courses on film while striving not to let all of the courses -- or all of the photographs -- begin looking the same.  As clients discovered that my images significantly enhanced their marketing efforts (and revenue), golf course photography developed from a personal interest into a full time career.  Although I still harbor the dream of some day designing and directing the construction of my own course, I have never regretted the path I 'm on.

Before turning my attention almost exclusively to golf courses I had earned national awards and recognition for my fine art landscape photography.  That makes my approach unique among golf course photographers because I bring an extensive fine art background with me every time I photograph a course.  Like all successful artists, my attention to the smallest of details -- as well as to the major considerations of light, balance, composition, framing, texture, perspective, and rhythm -- is meticulous.  You might not notice those details consciously, but most people can readily see that my work is far different from that of most of my competitors.  That difference is in the details.

Largely because of that attention to detail, the owners of two of last year's three "Best New Courses" selections (Best New Private Course, Awarii Dunes in Nebraska, and Best New Public Course, Firekeeper in Kansas) selected me to do their initial photography.  Other recent commissions include the 2013 BMW Championship at Conway Farms in Illinois.  Limited-edition print commissions have included the 2008 USGA Mid-Amateur Tournament; a special print for the 2008 USGA Women's Amateur; a limited edition print for the 2006 Shivas Irons Society weekend at Erin Hills, the Women's Senior Golf Tour's inaugural event in 2001, the Straits Course at Whistling Straits, the Grand Opening of Horseshoe Bay Golf Club in Door County, WI, the 1999 PGA Club Players' Championship, and a framed double limited-edition print for the 1997 US Amateur Championship at Cog Hill GC in Le Mont, IL.  I was also commissioned to produce a lithograph for the 1998 US Women's Open and the first three "Great Golf Holes of Wisconsin" calendars.  In 2001 my work was featured in the Wisconsin State Golf Association's "Playing Through," a coffee table book celebration of the WSGA's first 100 years.  Publishing credits include LINKS Magazine, GOLF Magazine, Landscape Architecture, Golf World, Golf Digest, Golf Chicago, Par Excellence, and Wisconsin Golfer magazines, and several limited edition books for the anniversary celebrations of various private golf clubs.  In 1998 I received the award of "Outstanding Achievement in Golf Course Photography" from the International Network of Golf.  My images have been exhibited at the Denver Museum of Modern Art, the Milwaukee Art Museum, and private galleries in Denver, Chicago, Indianapolis, and Milwaukee.

In January, 2004 I was retained as the sole photographer for Aspen Golf Worldwide, Inc., a golf course builder whose principles have been involved in the construction of Whistling Straits, The Ocean Course at Kiawah Island, Old Marsh GC, The Dye Preserve, and The Dye Course at Colleton River Plantation, among other world-class courses.


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