Mark picked up a camera in college. His motivation: To make a good photo of a young woman. The irony: He fell in love with both woman and photography.
Fast forward 30 years. Several decades into a career as a physician, Mark had cause to pick up a camera once again. Trading his view into a microscope as a pathologist for that of a NIkon F100 viewfinder proved to be irresistible. In 2001 a windsurfing shot made off the coast of Venezuela was published in the US and Europe, a spark that ignited his dormant photographic interests. Fortunately his rekindled passion not only touched him, but his family and an ever increasing circle of friends and acquaintances until one of those connections led to recognition from Nikon. In 2004 Nikon began using Mark’s images in their advertising and later that year featured his work in Nikon World magazine. His experience as a medical educator and speaker made a transition to digital photo educator a natural outcome. In 2006 he became a mentor for the Nikon sponsored Pop Photo Worldwide Destination Trek Series. His work has won international awards, attracted clients such as Hewlett-Packard, Lowepro and DxO Software, and found placements in commercial installations, stock agencies (Science Faction and Alamy), and private collections. Author Tony Luna (How to Grow as a Photographer: Reinvneting Your Career) found Mark’s life changing decisions and success so inspiring it became subject matter in his book.
As opportunities to travel and photograph continued, in 2007 Mark stepped away from his medical career and devoted full attention to all things photographic. He now resides in Atlanta, Georgia where a state of the art home studio makes private instruction a unique experience. In addition to continuing relationships with Nikon and the Pop Photo Mentor Series, Mark also leads trips for IMAGEMA Travel, an extension of his website and photo business.
Q&A with Mark
“Do you miss medicine?”
Making diagnoses that touched so many lives was an amazing career. When I discovered that my photographs and teaching were also touching lives it made me realize I could make a valuable contribution in either career. That insight was the foundation for the leap of faith away from medicine. My journey with a camera since has been so incredible I can’t imagine not having made that decision.
“Why do you shoot Nikon?”
Over the 40+ years I’ve been shooting, I’ve worked with equipment from most of the major manufacturers. Contemporary design has made most capable of producing fine images. I choose Nikon because the ergonomics speak to me. Things as simple as how buttons feel and where controls are located make my user experience better with a Nikon. I’ve made fantastic images with virtually every Nikon I’ve used, from Coolpix right up to the flagship D3 series. The lens quality and durability never disappoint. And don’t think I use Nikon because they give me free equipment. While they provide whatever I’m shooting on assignment, and they occasionally loan a specialty item for short term use, Nikon does not give equipment away to garner endorsements. They want contributing Nikon pros to be using Nikon equipment as a personal choice. We pay for equipment just like John Q. Public. I get most of mine from B&H Photo in NYC.
“Do you Photoshop your pictures?”
This question has two answers, and of course ‘Photoshop’ here means digitally enhance, not literally the Adobe program. First, every digital photograph worth it’s salt absolutely must be processed in quality photo editing software. If you don’t make assertive decisions in processing your digital files you simply are not realizing the maximal potential of the fine camera you bought. Second, since I’m not a photojournalist, the primary intent of my photographs is to communicate an emotional response. Just as when you see a movie or hear a concert and recall it later, your memory of the event is subjective and often the perception after the fact differs from the reality of the moment. How I process my photographs is very similar. I make decisions whose end result is a subjective visual interpretation. The bottom line: Yes, I digitally enhance every image. You should too. If you’re a photojournalist, you should process for quality. If you’re not a photojournalist, process as an artist. Both approaches are completely valid in context.
“If you could only have a camera and one lens, what would you choose?”
During the past several years the answer would have been a D300 and the Nikon 18-200mm lens. Given the relative focal length of this combination (27-300mm) and the quality of the D300 files (superlative for a DX sensor), you could make jaw dropping images in almost any situation. Now that the FX compatible 28-300mm lens is available, there are a couple of combinations that are equally appealing. A D700 or D3s with the 28-300mm is a great FX choice. The D7000 with the 28-300mm is also something special. The resolution of the D7000 is fantastic, and to have a focal range of 42-450mm on tap is quite exciting.
“What’s your favorite thing or place to shoot?”
While some photographers can wax poetically in answering this questions, all I can tell you is that I love to shoot anything that light is making beautiful. Landscape, wildlife, people, even a storm or a medical subject… as long as there is special light involved, give me a camera and I’m all over it. Often to my wife’s chagrin. Thanks goodness she’s supportive and enjoys seeing me excited by my passion.
