I decided to use an “oldschool” approach to this series one that has been around almost as long asphotography itself – a pinhole camera.  The reasons were simple I wanted to slow downin my work and to allow the longer exposure time to revel the oceans meditatequality.
The pinhole forces me to usea tripod and find my spots with care rather than just randomly shooting the baywith out much thought as it often the case with 35mm digital or filmcameras.  I wait for the light to changeand the tides to begin.  I carried mycamera with me always keeping an eye on the water and the changing weatherstopping when conditions warranted.
I chose the diptych format,because it accentuates the movement of the water – you see rocks until the tidewashes over them only to be uncovered a minute or two later.  The process duplicates itself repeatedly, asit has for generations – a record of the passage of time.  The film’s colors are subdued through longexposures, overcast days and the pinhole’s lack of a real lens, my pinhole hasa pinprick in a piece of copper for its lens. 
I was inspired to createthis series after seeing Richard Diebenkorn’s Ocean Park paintings. I drove along Ocean Drive i 12.00 Texasevery day for a year and witnessed the bay as it constantly changed not justdaily but, also every mile.