I could say that my photography focuses on various environments, the different ways they are put to use, and especially their existence in a state of constant transition. In city streets and buildings, from public spaces to commercial properties, back alleys to neighborhood haunts, people are constantly navigating, adjusting, and transitioning, and over larger spans of time these spaces themselves do the same. Still photography allows us to focus on such things in a way that is impossible during the normal, constantly-in-motion experience of our daily lives. There are so many cliches - a moment in time, snapshot, frozen moments, slice of life, liminal space - that approximate something unique about how a photograph functions. But what these sentiments do not pin down is how photography has changed (and continues to change) the way we all think about the world we inhabit and our expectations for it. The role that images take on in our discourse, contemporary or historical, increases with the increase in the production of photographic images. But generation to generation we viewers also become more savvy about such images, particularly those of the past where we can study not only the images themselves, but also the means of their production, and increasingly their manipulation, deepening our understanding on a plane completely other to the lingual. So what my glimpses are trying to do is leverage the evolution of our relationship with still photographic images after 175+ years, the variety of technical tools at my disposal a playground for dispensing an individual perspective in a language that is both relatively young and constantly evolving, yet also both incredibly intuitive and indelibly ambiguous, to communicate a record of the environments I encounter and how I respond visually to them, which necessarily includes intellectual and emotional components which are all tied together in my mind, and constitutes my record of the event. After the fact of my encounters in the physical world, when the image is first recorded, I also encounter the image itself as it is processed, edited, sequenced, and presented. My experience with the image also continues to evolve which gives rise to new opportunities to further filter, imbue, dispossess, and hone the image so that it is no longer just a record of a particular time and place and my experience of it, but rather a more universal record of what it feels like to experience the world today. I suppose that sounds pretty grandiose. But it is really all to say that I understand that images can be read on many levels, and hope to use that as a medium of meditative contemplation and communion with others.