After a 25-year career in Boston’s commercial real estate business, I re-discovered photography in 2005. The digital revolution in photography had picked up steam and my then teen-aged daughter asked me for a digital camera that she needed for a school photography course. I bought 2 cameras, one for her and one for me, and I have not caught my breath yet.

Serious photographers quickly learn that the dirty little secret of shooting digital is we each must become our own photographic processing lab. When the full impact of this hit me, I embarked on a personal educational journey with an enthusiasm and passion for learning that, to my parents dismay, had always eluded me in high school and college.

After finishing the yearlong professional photography program at Boston University’s Center for Digital Imaging Arts (CDIA), I spent another year on staff as a teaching assistant. I also proceeded to take several workshops from great teachers such as John Paul Caponigro, Joe McNally, and David Tejada. There is a lot to learn out there.
Project-based photography has always interested me, some of which is represented here. Since completing the Providence Portrait Project, I have also become increasingly interested shooting portrait series within communities or interest groups, and am currently working on a few of these types of projects.

In school they taught us to shoot the people and places that we know and which are accessible to us. This advice always resonated with me, and each of these portfolios has some sort of personal connection to people or places of my life.

Currently, I photograph architecture and interiors commercially with my friend and old CDIA instructor, Brian Tetrault. You can check out our work at HooperTetrault.com.

A Word About HDR Photography

Much of my early work and some of the images on this web site are rendered in what has come to be known as “HDR” or high dynamic range photography. (Basically, the camera cannot properly expose for both bright sunlight and deep shadow at the same time. HDR digitally combines 2 or more different exposures of the same scene in order to extend the camera’s exposure range and properly expose a larger areas (should be area) within an image.)

I became interested in High Dynamic Range photography when I was working as a TA in photography school. One of the instructors I worked with was a consummate early adopter of new digital techniques, and from the moment I saw his first photograph spring to life on the monitor, I was hooked. To me, it was reminiscent of the moment that all darkroom photographers remember as they saw their first image slowly emerge on photo paper in the developer tray.

I agree with John Paul Caponigro’s view which is that photographers have been trying to solve the dynamic range problem since the beginning of the medium. HDR is simply the 21st century’s latest answer to 19th and 20th century techniques such as compositing 2 negatives to properly expose the sky, or burning and dodging an image in the darkroom to enhance shadows and highlights.