Tell me about you!

Several years ago, I made a major career shift and bought a small hardware and general store in a rural resort area near Lake Michigan. It might just be the only general store in the country where you can pick up a loaf of bread, toothpaste, lumber – and large format fine art prints.

These days, I’m not very involved in the daily operations—my son is taking the reins—so I’m able to devote nearly all my time to my photography.

Growing up, art was always something you did after your “real work” was done. It took me a long time to realize that art is my real work. Now, I’m finally getting the order right: art first, because that’s my true calling.

How did you discover your love for photography?

I spent a lot of time alone as a kid, which gave me a vivid imagination and made me a careful observer of the world around me. My parents had a cottage on a small lake, and that’s where a deep passion for boats began. Every year, my dad would take us to the local boat show, and I’d come home with a tote bag overflowing with brochures.

I’d spend hours poring over those pages, memorizing every nuance—the lines of the hulls, the play of light and shadow, the proportions that made each boat beautiful. I didn’t realize it at the time, but those brochures were my first textbooks. I was learning about form, composition, and the subtle language of images long before I ever picked up a camera.

When I finally bought my own camera—a Pentax K-1000—and spent time in a friend’s darkroom making my own prints, I was hooked. Photography became a way to channel that same curiosity and attention to detail, allowing me to explore and share the world as I see it.

Who are some of your favorite photographers (past or present)?

In no particular order; Michael Kenna, Clyde Butcher, Bruce Barnbaum, David Fokos, Charles Cramer, Alex Noriega, and many more.

What do you think makes a photograph or piece of art “good” in today’s world? 

Good art is intentional. It should be inspirational and uplifting. It’s the product of time, effort, and a willingness to look deep. In photography, that means seeking out compelling subjects, waiting for the right light, and composing with care. It also means mastering the entire process, from capture to the final print. Photographic equipment and software have become so good that anyone can learn to create a photograph that is technically good. Focus, exposure, sharpness, color, and so on can be achieved with modern camera systems. Advanced processing software can do the same thing after image capture. So, while technical accuracy may be achievable, it does not assure artistic value.

True artistry comes from slowing down, being present, and allowing a scene to speak to you. In the end, good art isn’t just about what you see—it’s about what you feel, and what you can make others feel as well.

What equipment do you shoot with, and why?

I’ve been shooting with Hasselblad digital cameras for a while now—primarily the X2D and the CFV 100c digital back. The image quality is spectacular, but what really draws me in is the process. I also use a Canon R5 when I need to capture action or fast-moving subjects.

My most recent (and most transformative) addition is a technical camera: the Cambo WRS 5500, paired with several Rodenstock lenses. I first tried this setup at a Capture Integration workshop, thanks to Dave Gallagher, who generously let me spend a day experimenting. That experience was unexpectedly meaningful—it reawakened my appreciation for a slower, more intentional approach to photography. I like to make a comparison to that of driving a car with a manual transmission versus an automatic. The manual gives you an intimate connection to the machine. Shift points require thought, intention, and physical action.

I had become dulled by the automated capabilities of modern equipment. There’s nothing wrong automation per se, but I think it can lead to creating more content with the hope that better content will result. Take a lot of pictures now and decide later which ones are good.

There’s a very different vibe shooting with an all-manual system. The tech camera gives incredible precision and creative options for shot composition. The lenses require manual focus, aperture setting, and so on. Thought, intention, and physical interaction.

I realize you can shoot in manual mode with most cameras, and I usually do. You can also manually focus lenses, but focusing fly-by-wire lenses provides a very different tactile experience. The v-series lenses are better, but it’s just not the same.

For those interested, here’s my current kit:

How does your education in Naval Architecture and Marine Engineering tie into your photography?

To me, a well-designed boat is a work of art. My education in Naval Architecture and Marine Engineering taught me to appreciate the elegance of form, proportion, and function. Back then, computer-aided design was just emerging, so I spent countless hours drawing by hand. That process—translating an idea into a precise, visual form—required both technical skill and creative energy.

Photography, for me, is a natural extension of that discipline. It’s about seeing the underlying structure in a landscape, understanding how light shapes form, and composing an image with intention. Whether I’m photographing a coastline, a ship, or a mountain, I’m always searching for that balance between art and engineering—the place where beauty and design meet.

Why did you choose the Hasselblad system?

I chose Hasselblad primarily for its image quality. Hasselblad’s color science is the best in the business. The cameras are also a pleasure to use: the ergonomics, aesthetics, and menu system are all thoughtfully designed. Leica and Phase One are close seconds, but Hasselblad stands out for its intuitive interface. Other camera systems aren’t even in the same league. The first iPhone was released in 2007 and no one at Canon, Sony, Nikon or Fuji appears to have ever used one. Unbelievable.

What is your favorite underrated photographic tool? Why?

My favorite underrated photographic tool is the tripod head—specifically, the Arca-Swiss Cube. I bought one a few years ago, and while it wasn’t cheap, I’ve come to appreciate it even more than I expected. This ties back to my engineering background. Any object in space has six degrees of freedom—three ways it can move linearly (surge, sway, heave) and three ways it can rotate (pitch, roll, yaw). Think of a boat rolling and shifting in the waves.

The combination of the Arca-Swiss Cube and my Cambo technical camera gives me precise control over five of those six degrees of freedom when composing a shot. The tripod—and my feet—provide the sixth. This level of control lets me fine-tune my compositions with a precision that’s hard to achieve otherwise. It’s a subtle tool, but it makes a world of difference in the field.

If you were behind your camera and could choose anything you wanted to be in your viewfinder, where would you be and what would you be looking at?

If I could choose anything to be in my viewfinder, I’d be standing among trees—drawn in by their complexity, their fractal patterns. Add some hills for texture and depth and a veil of mist or water vapor for mood, and I’m in my element. It doesn’t really matter to me where it is.

Why did you select Capture Integration as your equipment partner?

Specialized knowledge is one reason. In the world of medium format photography, resources and expertise are rare. Also, during the CI workshop I attended I got to know Dave and his staff a bit. All of them exuded an enthusiasm and professionalism for the business and its technical intricacies that impressed me.

More About Tim

“I have had a passion for photography since I was very young.  While technology has made it easier to take pictures, capturing the essence of a scene remains a challenge.  

I am deeply moved by the power of an image to evoke emotions and tell a story.  When photographing, I take the time to contemplate what makes a scene visually compelling. I strive to translate that vision through my lens, a process that requires a slow and deliberate pace. In a fast-paced iPhone world, this method is both challenging and immensely rewarding when everything aligns perfectly. “

Inside Tim’s Camera Bag

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