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