17 South Berkeley Hall - 1
Each piece is captured in a rare moment where light, time, and place come together.
I made this image in sepia because the Low Country, stripped of color, still has something to say. The 17th South under a soft, overcast morning turned out to give me exactly what I wanted — a stand of tall pines with Spanish moss draping off their branches, two bunkers sculpted into the approach, and a wash of cool fog lying across the middle distance.
Black and white — or in this case, the warm monochrome of split-toned sepia — forces the image to rely on form rather than color. The pines read as vertical shapes, the moss as gray veils, the bunkers as pale irregular pools. Without the hard contrast of blue sky and green fairway, the geometry of the hole comes forward in a way that color tends to obscure.
There's a timelessness to monochrome work on a property like Berkeley Hall. The live oaks and loblolly pines have been here for generations, and images stripped to their tonal bones suggest that continuity.
17 South Berkeley Hall — 1 strips the hole to its structural essence — pines, moss, and sand rendered in timeless monochrome, a photograph that could have been made a hundred years ago or yesterday.
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My Commitment
craftsmanship
Quality and craftsmanship sit at the heart of every piece I produce—long after the shutter clicks and long before a print ever reaches a wall. From meticulous file preparation to museum-grade materials and exacting color accuracy, each image is refined through a deliberate, uncompromising process designed to honor the moment it was captured. It is this final, critical step that transforms a fleeting encounter in the wild into a lasting work of fine art.