This article appeared in the March/April 2002 issue of PT. To purchase this issue and receive this and other valuable articles in this issue, CLICK HERE: Ship within the U.S. | Ship outside the U.S.

Photography has two functions: it serves as either a record or document, or it reaches the level of art. On rare occasion, a photograph intended to be documentary is executed with such skill, precision and passion, that it crosses the border and stands as artwork in its own right. Ansel Adams’ dramatic visual recordings of Yosemite National Park are just one example of documentary work recognized internationally as artwork. In continuing with Adams’ tradition, my longtime goal is to render the undeniable beauty of Greece. To my knowledge, no such “dramatic” interpretation of the Greek landscape and its monuments exists. It also delights me so that this beautiful land will serve as host to the 2004 Olympics.

Greece and its art are a part of everyone’s past. Greek art has been influenced by everything, and in turn, has influenced everyone to some degree or another. My goal is to create photographs that capture the true essence of Ancient Greece in preparation for this Olympic event.

The ancient Greeks celebrated the human being with all of its godlike tendencies and flaws. Their depiction of humanism seems modern even by today’s standards. As archetypes, Greece’s classical ruins and art evoke a feeling of harmony and tranquillity. To many, these represent the unattainable, unspoiled, mythical and the timeless. If photographing those sacred places makes one feel connected to our past—and thus more compassionate towards fellow man—then one should go there and make pictures. The images presented on these pages span over a decade. My goal is to periodically update PT readers as this work unfolds.

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