What inspired you to focus on Amsterdam for this project, especially after your previous work in major global cities?

When I moved to Amsterdam, I was coming from twenty years in New York City, which has a different energy and pace. In the beginning, I felt a bit disoriented by the slower rhythm of life here, but over time, that became a source of inspiration. Amsterdam has this quiet beauty that’s less about grand landmarks and more about subtle details that reveal themselves if you slow down and pay attention. I wanted to explore that contrast—the idea that beauty isn’t always loud or obvious, but often exists in the margins of everyday life. Focusing on Amsterdam allowed me to reflect on how a place shapes our experience, especially after such a big life change. It also just happened to be where I live now, so convenience was part of it as well. Plus I was processing a number of big life changes at the same time, and photography was there for me as a form of therapy.

What drew you to use a half-frame camera from 1964? How did this vintage equipment shape your creative process?

The half-frame camera was key to how I approached this project. It’s small, simple, and quite limiting compared to more modern cameras, but those limitations became a strength. Shooting with it forced me to be more intentional and present. The camera shoots two images per frame, so there’s this natural diptych effect that happens, which encouraged me to think more about how pairs of images could interact with each other. It created a rhythm that shaped the flow of the entire book. Having paired images is like creating a conversation between two photos, where each one enhances the other and adds new layers of meaning. 

What was the most challenging aspect of capturing Amsterdam over three consecutive springs? How did you maintain your connection to the project theme across this timeline?

The biggest challenge was maintaining a fresh perspective over the course of three years. Spring comes around every year, but how do you keep from repeating yourself or capturing the same things over and over? I had to push myself to keep looking at the city with fresh eyes, even when walking the same streets. That’s where the concept of overlooked beauty became important. I reminded myself that even in familiar places, there are always new details to discover if you’re willing to slow down and look. The shifting light, the subtle changes in nature, even the small ways the city itself evolves—all of these things helped me stay connected to the theme.

Additionally, since this project was first and foremost a meditation and a form of therapy for me to process life events, there was never a lack of inspiration or reason to head out and make the work. 

How has your perspective on Amsterdam changed through the process of creating this book?

Through this project, I’ve developed a much deeper appreciation for the quiet moments in Amsterdam. When I first moved here, I think I was still in a New York mindset, where everything is fast-paced and constantly in motion. But photographing Amsterdam, especially over three springs, helped me see the value of stillness and subtlety. I now notice the way light bounces off the canals at different times of day, or the textures of the cobblestones after a rain shower. It’s a place that rewards patience, and that’s a mindset I try to caryr into other areas of my life, not just photography. Still a work in progress.

Looking back on this project, what has been the most significant learning or growth for you as a photographer and artist?

I’d extend this beyond photography and into life itself. The main growth came from reconnecting with myself—remembering who I am and the positive impact I can have on others. I also learned that I can embrace photography not just as a form of meditation, which I discovered while making my previous book NOTICE, but also as a form of therapy.