I am a biology nerd in Baltimore, MD, due to celebrate my first annual 29th birthday this spring. I do have a real name but I have noticed that most people address me as "Schmoo," even in real life! Well, whatever works. My vocation is straddled between regulatory affairs and research/development in oncology... which is about as distant a field from photography as one can get. The last few years have been devoted to getting my Masters in Biotechnology, but after I finish this program next year my life will be up for grabs.

No formal training whatsoever. Wait, that’s not true: when I was in 4th grade during a brief stint in private school, one quarter’s worth of the year was devoted to black and while film photography. I remember having a plastic toy of a camera, being let loose on campus and not being able to find much besides boring bushes and buildings to photograph. The processing of our film in the darkroom was much more interesting, but we didn’t get more than one chance to develop anything before the project was over. Needless to say, that experience didn’t stick with me and it certainly had very little influence on my photography now.

Since I have started taking my camera seriously, all of my training has been through reading, listening, watching, making (embarrassing) mistakes and listening some more. Most of the photographers I respect are self-taught and I see no reason why lovely images and technical skill can’t be developed as long as you are receptive to those who are willing to guide you.

My only experiences that could be considered real training is the workshop I attended through Smugmug last spring to Utah with Marc Muench. It was their first workshop of this type and my experience there and what I brought back from it is simply beyond description.

When I was in school, I had acquired an old manual Nikon 35mm from my father. At the time it was just a whim, something to do to alleviate the stress of studying. There was a great photo supply place down the street that supplied all kinds of film, so I spent the winter experimenting with black and white photography.

I was really obsessed with night photos of the city but I could never seem to get them right. I would make horrible mistakes in my exposures – or even more stupid moments like loading the film wrong and only finding out later when they were developed and nothing showed up. But I would climb to the tops of buildings in the middle of the night and try shooting cityscapes and skylines. Nothing really good came of this, but the bug of the idea had bitten me.

After about two years that camera broke. I was upset but now had the opportunity to move into the digital age. First I picked up a horrid 2.0 megapixel point-and-shoot that was a huge brick with a postage stamp LCD. I spent too much time complaining about the limitations of that thing, so the next step up was a Canon 300D and it was all over from there. I think that was only 4 years ago, but no other hobbies had a fighting chance. I have been shooting photos obsessively ever since – and particularly since the workshop last May.

Currently I am shooting with a Canon 30D and have three lenses: the 17-40mm, 24-105mm and an 85mm f/1.8 prime. My tripod is very soon to be upgraded to the SLIK PRO 883 CF-D (on order) but the head I’m keeping: Really Right Stuff BH-40 to go with the L-plate on the 30D. When taking indoor architectural shots the L-plate is indispensable! Also the necessary remote switch, batteries, CF cards, granola bars, cleaning cloths, business cards and a pocket-sized portfolio of 4x6 prints. Just in case.

Another mandatory item in my bag is a notebook (Moleskine FTW!) to jot down names, observations, locations, epiphanies, trains of thought and if I’m lucky a nugget of wisdom from a fellow photographer that I want to remember later. Whatever moves me is worth saving, especially as most of the time when shooting there is so much going on at once.

The item I need most of all is a 580EX flash. I am a little embarrassed (and part amazed) that I have managed to go so long without it. There are quite a few avenues of photography that I have put off simply because I lack the light: portraiture and macro, for example. Several people have already poked fingers at me about this. Next down on the list would probably be a 10-22mm lens. Or a fisheye, depending on how fun I want to be. Or a 24mm TS-E. Or...

The biggest chunk of my time with my camera is spent in old buildings. I do not particularly like to be thought of as “that crazy kid who shoots peeling paint” but it really gets me going. There are many, many people worldwide who do this, too, but I find that there are relatively few who do it with photography as the main intent. Documenting a historic or forgotten piece of architecture is one thing but what is most exciting to me are the endless creative possibilities that each location presents. Not that I’ve figured these out yet – I still take chair shots and empty hallway photos – but it’s all in the challenge. For something that can sit for decades without true human habitation, there is so much to be discovered between the walls: relics and personal artifacts that tell us something about the people who used to live or work there. Sometimes. Other times you’re not so lucky and it’s empty, but you never know the answer until you see for yourself.

Additionally, the adventure of getting there (road trip!), seeing the place for the first time in person, hearing the silence or the wind through the windows, comparing historic photos with the decayed image of the present… there’s the icing on the cake. There are always ghosts there. Not the kind to scare you or make things move, but the kind that makes you aware of just how many shoes walked the floors over the years, how many people laughed or cried. Every time I am inside an old building I wonder about the very last person was to leave and what it was like to be able to make that claim. Were they sad? Grateful? Reminiscent?

I am still climbing rooftops, still catching cityscapes, and still making stupid mistakes with my equipment. Maybe nothing has really changed since my first day! Certainly the education never stops.

Because I do not have a background in the arts, the artists I look up to tend to be those thrown my way through friends and fellows. I rely on word of mouth to present the geniuses to me because I think the best geniuses are the ones that fly under the radar. There are so many home-grown artists who are truly in control of their work: Claudia Schöne with her talent for catching split-second light, Viona Ielegems’ fantastic, lush creativity, and obviously the countless artists I’ve met through Dgrin and Smugmug who are so numerous I cannot even think of them all on the spot. Everyone brings something to the table and even though their individual styles and level of experience/education may differ remarkably, they all have something to teach.

I look up to the artist-in-residences of Dgrin, of course. They have earned their title with their skill and are paramount to helping people like myself learn more about the art. They share ideas and techniques and provide feedback, challenges and learning opportunities both on and off the forum. I could never ask for more in a mentor or instructor.

In that vein, Marc Muench has imparted so much on me during our workshop. In 5 short days the way I look at (for) light and the landscape has completely changed. Not only is his work inspiring and beautiful but his processing is breathtaking and believable. Though I have limited experience with landscape photography, his advice and technique has been applied towards the kind of work I already do. This has been a worthwhile challenge: translating his teachings into a slightly different context. Perhaps most of all I have come to appreciate the physical labor of chasing light, whether it means running/driving fast to get to the right location or sacrificing sleep to anticipate it!

Lastly, I have come to appreciate the work and philosophies of Vincent Versace. His images are beautiful, minimal and serene and reflect emotions like dreams. Although I was not familiar with him before his book was recommended to me I am carefully considering his teachings and will surely learn something from the experience – once I have had time to mull it over and practice, practice, practice.

I joined Smugmug on January 2nd, 2004. I give the exact date because it amuses me that it was the second day of the year and I remember signing up for the account. I do not, however, remember how that New Year's Eve went.

I stayed with the basic setup (using it mainly for hosting images) until this year when I moved up to the professional account. The difference between going Pro and having my based-at-home website was enormous. The reliability of uptime, versatility of customization and printing options alone is enough to justify the change, but there is more than that. Behind the website is a group of employees and volunteers who are willing to help you do anything you can dream up – if you only ask. I have never before dealt with a company that felt like a group of close personal friends, and it makes all the difference.

Plus, the 30-second response time on emails doesn’t hurt.

Like night and day. Through community, support, presentation, and exposure both my approach and my direction have completely changed.

EVERY day is Check Your ISO Day.