Many years ago, one of my first assignments was to photograph an engineer standing next to three 36-inch storage disks that held 20 megabytes of information, then revolutionary technology. How times have changed. Now I shoot all over Silicon Valley and am amazed by the next great idea my clients are coming up with.

I have traveled nationwide and internationally for various clients. I have shot in broadcast booths and television stations for Sony Corporation. I've shot trout farms in Idaho, aerials of San Francisco, open-heart surgery, the summer Olympics in Australia, and some of the brightest CEO's—even a non-cooperative animal or two.

Years ago, a client called and asked if I could shoot food. Admittedly, I had never done it before, but how could I say no to that request? Since then, I've relished working with food stylists, on the line in a kitchen, with chefs, inside or outside restaurants and, of course, and always, the food. No question this kind of photography is poles apart from corporate work—but I love doing both.

Then a few years back I found myself working for developers and advertising agencies shooting residential and commercial buildings.

The diversity of my client base keeps me fresh, wherever the venue. I look at all of my assignments as new, energizing and exciting. I've learned that no matter the subject, one thing is always key—lighting.

I shot film for so many years that I thought there was no way I'd switch to digital. Once I saw the quality, I was hooked. With film I had no control once it left my hands. There was always something left to chance in what appeared on film. Now, with digital, I can create a better product in less lime, and my clients never have to worry if we 'have the shor